If you had to stick to one DAW, which one would it be?

[machinesworking]

Or maybe it's just that it doesn't suit him as well as the tools he is already using? My time with Bitwig was a complete waste of time and money, not because I couldn't work out how to use it but because it wasn't aimed at the way I like to work. I also thought the included instruments and effects were below par. To be fair, that's also true of Studio One but, when I was using Bitwig, it was a lot more important than it was by the time I found Studio One.

He’s a partially trained lifelong live musician, He would have been fine with Pro Tools but that company milks you like no other. Basically he mostly uses DAWs like audio recorders with virtual plug ins. He’s just not familiar with sequencers or DAWs that emulate that type of timeline oriented workflow.

Bitwig is him trying something different, sound design stuff etc. We will see if it sticks.

[skijumptoes]

You do have it all wrong if you think anything you've mentioned has anything to do with it.

I think perpetual licensing and how it's employed is quite a consideration for users, and will grow the more companies attempt to double down on subscription schemes.

[musicproducerdee]

They're a different breed of people, I swear. Most that I know in that linear PT/Reaper world can't stand MIDI let alone get their head around something like Bitwig and what it delivers.

Yeah, I thought so. Totally different kind of target audience from your usual DAWs.

I've can think of two different studios that have iMac running mainstage, connected to an ancient MIDI keyboard, and they record the audio output of that machine into the main rig via audio.

I think having MIDI data on their timeline is some kind of disease that they don't know how to deal with, and would rather treat it externally, spending 30 minutes to get a take of someone playing live.

-_-

Someone on their own using Bitwig/Ableton could have the basis of an entire track down in 30-60 minutes, it's such a contrasting difference.

That's very much true.

[EnGee]

I think it would be Ableton Live for me, but it could be Cubase, Logic or Reason.

I don't believe that KVR polls represent the majority of the 'real' world but maybe a strange world!

Anyway, while I'm in a non productive state, I thought to install FL Studio (don't look at me like this! I have a legit producer license that I got from a previous charity win). I think I will spend few days with it as it looks really nice and inviting with very good quality tools and synths (I have Sytrus and Harmor, which more than enough!). Let's see if I can finish a song with it

[BONES]

He’s just not familiar with sequencers or DAWs that emulate that type of timeline oriented workflow.

I've never really looked at ProTools but this doesn't seem too different to any other DAW, does it?

I think perpetual licensing and how it's employed is quite a consideration for users, and will grow the more companies attempt to double down on subscription schemes.

Stupid users, possibly, but it would hardly matter to anyone who is serious about making music, surely? I can't think of anything that concerns me less. I'd be more likely to be put off by the colour of the UI background or the font they use.

[machinesworking]

I've never really looked at ProTools but this doesn't seem too different to any other DAW, does it?

Big differences are arguably the best audio editing, especially for traditional recording styles that don't even pay attention to the timeline. My buddy is a drummer first so he I would bet doesn't even use a click track when recording. In fact I seem to recall a podcast he did with another producer where he mentioned the rigidity and blandness (his words not mine), of popular music because of constant tempos etc. Basically with DAWs most started as MIDI sequencers first, then added audio, it's not something he does so Bitwig would be a huge stretch.

[30pinsimms]

Logic is my vote. The buggiest pile of sh*t application from the richest corporation in the history of mankind, but I know it like the back of my hand so I know how to navigate around the worst bugs.

[fedexnman]

Logic is my vote. The buggiest pile of sh*t application from the richest corporation in the history of mankind, but I know it like the back of my hand so I know how to navigate around the worst bugs.

Logic wasn't always Apple only if I remember correctly ?

[BONES]

No, it was acquired from EMagic after the success of Final Cut Pro in the professional market, at the same time they bought Nothing Real, which made Shake (compositing application used in virtually every Hollywood film at the time). Neither application worked out the same way for them, though, for the simple reason that FCP was something Apple built from scratch so it was always Mac-only. OTOH, both Logic and Shake were cross-platform so they ended up pissing off half or more of the existing user base when they dropped support for other platforms. It killed Shake stone dead because no-one in the VFX industry was going to switch away from Linux, so they killed the application after a few years. Logic rattles on, probably on the back of being so cheap these days, but I'll guarantee that it's user base today is still half what it was when EMagic owned it.

[BONES]

Big differences are arguably the best audio editing, especially for traditional recording styles that don't even pay attention to the timeline.

What are you talking about? Audio and MIDI both need a timeline, ProTools is as much timeline based as any other DAW. Pretty much every screenshot I could find of it had the timeline front and centre.

I seem to recall a podcast he did with another producer where he mentioned the rigidity and blandness (his words not mine), of popular music because of constant tempos etc.

So he hates drummers who can keep time? Keeping to a strict tempo is as much a choice ITB as it is outside it. We ramp the tempo on some of our songs, to ratchet up the energy (and hopefully annoy DJs in the process).

[jancivil]

"rigidity and blandness (his words not mine), of popular music because of constant tempos etc"
probably a strawman anyway.

[kritikon]

Oh yeah, I'd want a drummer that can't keep time in my band (if I had one).

[machinesworking]

Big differences are arguably the best audio editing, especially for traditional recording styles that don't even pay attention to the timeline.

What are you talking about? Audio and MIDI both need a timeline, ProTools is as much timeline based as any other DAW. Pretty much every screenshot I could find of it had the timeline front and centre.

He records in DAWs like they did with tape, it's not complicated.He doesn't bother with bars beats timelines and other parts of DAWs that work like that. And no, humans are not as rigid as metronomes or quantized MIDI, period. It has little to do with how good the drummer is. He doesn't play to a click.

Here's plenty of examples of live musicians tempo maps, click tracks VS without.
https://musicmachinery.com/2009/03/02/i ... ick-track/

The only thing he uses the timeline for is some film scoring he's done. So recording audio into minute 52:36 when X event happens. I don't know why you're not getting it, hardly a soul used click tracks even, pre the 70's.

[EnochLight]

To be fair, "rock" (as we know it) with traditional drummers keeping time hasn't been the most popular music genre for many, many years. Front and center and the most popular has long been hip-hop/pop/rap, at least in the US it has; in Europe it's long been EDM and pop/rock. These are mostly an electronic genre, so I guess it boils down to "producers" (FFS I hate that term) choosing to program boring and repetitive beats.

[mrtechnoid]

Ableton