2022 DAW Predictions

[sQeetz]

Prediction: until the end of 22 all relevant plugins and DAWs will have Apple Silicon versions.
The ones that don't are either Windows only anyway.... or just slow and might do it in 2023, but come on...

[Plugintester]

I have every two weeks a new daw, because I just select and use a new Reaper theme.
There are hundreds of different themes, I present my favourite ones in a video and at the end I perform the song Free by Prince. Imo freedom is important now in Covid times.
Happy New Year 2022!

[jules99]

What does that have to do with new DAW features?

[jancivil]

My prediction is that nobody interested in this thread will release anything worth listening to.

Of course in your mind you're the final arbiter of worth, isn't it.
I've heard your music, it's dull and predictable and sounds like a real clod makes it. Honestly, you don't seem particularly sensitive to music.
...a pissing contest mentality in a let's argue about DAWs thread. Telling stories out of school, gotta act big every single time.

I'm here to see if anybody made a funny.

[BONES]

Well, of course I am. How could it be otherwise? But if you like, we could quantify it. Let's say that nobody interested in this thread will release anything that makes any kind of official chart that means anything. How does that sound?

[fairlyclose]

Well, of course I am. How could it be otherwise? But if you like, we could quantify it. Let's say that nobody interested in this thread will release anything that makes any kind of official chart that means anything. How does that sound?

yeah but that is a very narrow definition of worthwhile and economic output. Not every professional in music makes songs or does things that "hit charts". Actually the profession is way larger than popular music and charts

[LeVzi]

Yamaha will buy Fender, and release Cubonus Studio.

Sounds like a porn factory

[machinesworking]

Well, of course I am. How could it be otherwise? But if you like, we could quantify it. Let's say that nobody interested in this thread will release anything that makes any kind of official chart that means anything. How does that sound?

yeah but that is a very narrow definition of worthwhile and economic output. Not every professional in music makes songs or does things that "hit charts". Actually the profession is way larger than popular music and charts

The DIY thing is gone these days, it's replaced with a TV aesthetic, we all accept supergroups, "pro" musicians, and general idiocy. You're not rejecting Lady Gaga level stardom, you're just jealous. Bones knows this a garbage argument, but that won't stop him from making it, because trolls gotta troll.

[fairlyclose]

Well, of course I am. How could it be otherwise? But if you like, we could quantify it. Let's say that nobody interested in this thread will release anything that makes any kind of official chart that means anything. How does that sound?

yeah but that is a very narrow definition of worthwhile and economic output. Not every professional in music makes songs or does things that "hit charts". Actually the profession is way larger than popular music and charts

The DIY thing is gone these days, it's replaced with a TV aesthetic, we all accept supergroups, "pro" musicians, and general idiocy. You're not rejecting Lady Gaga level stardom, you're just jealous. Bones knows this a garbage argument, but that won't stop him from making it, because trolls gotta troll.

I dont work in that system at all and dont listen to what it makes. My professional output goes into museums and art galleries, some concert work although that has dropped off over the last few years not surprisingly. Last "songs" I did were with a pianist in London, reworkings of Morton Feldman. With copyright clearances.
Let alone someone who works in audiobooks or podcasts - its a huge industry and not all of it has charts or whatever, and - incredible as this seems - not all of it is based in the Anglosphere, lol

[chagzuki]

The highest tier of DAW subscriptions will come with loyalty vouchers that give discounts for plastic surgery. Celebrities will copyright their plastic surgery and demand you subscribe to their instagram to grant access to use it.

[fairlyclose]

The highest tier of DAW subscriptions will come with loyalty vouchers that give discounts for plastic surgery. Celebrities will copyright their plastic surgery and demand you subscribe to their instagram to grant access to use it.

William Gibson, "Idoru" 1996

(probably some throwaway by JG Ballard decades earlier)

[machinesworking]

Well, of course I am. How could it be otherwise? But if you like, we could quantify it. Let's say that nobody interested in this thread will release anything that makes any kind of official chart that means anything. How does that sound?

yeah but that is a very narrow definition of worthwhile and economic output. Not every professional in music makes songs or does things that "hit charts". Actually the profession is way larger than popular music and charts

The DIY thing is gone these days, it's replaced with a TV aesthetic, we all accept supergroups, "pro" musicians, and general idiocy. You're not rejecting Lady Gaga level stardom, you're just jealous. Bones knows this a garbage argument, but that won't stop him from making it, because trolls gotta troll.

I dont work in that system at all and dont listen to what it makes. My professional output goes into museums and art galleries, some concert work although that has dropped off over the last few years not surprisingly. Last "songs" I did were with a pianist in London, reworkings of Morton Feldman. With copyright clearances.
Let alone someone who works in audiobooks or podcasts - its a huge industry and not all of it has charts or whatever, and - incredible as this seems - not all of it is based in the Anglosphere, lol

That was more or less my point, not everyone wants or ever wanted to be part of a pop chart ecosystem. I know a lot of people that do trailer music for TV, musicians doing niche music that will never be popular because that's what they love. It's not all Hans Zimmer and Taylor Swift as the apex, and it shouldn't be. Bones is the resident troll, you have to pay him the fee of attention to use the forum.

[BONES]

yeah but that is a very narrow definition of worthwhile and economic output. Not every professional in music makes songs or does things that "hit charts".

1. You can make it into the charts and never make any money. We're actually rather good at it but it at least means someone thinks what we do is worthwhile.

2. There are all kinds of charts and if you are reasonably good at what you do, you can at least manage something that means something to you. The kinds of charts I wouldn't consider are those that only require you to get a hit on a page, rather than a full playthrough of your work, which make sit more about marketing than artistic or musical merit.

Beyond that, anything else is really in favour of my point, which is that if you aren't making music to share with the world, what you're doing is worthless.

[fairlyclose]

yeah but that is a very narrow definition of worthwhile and economic output. Not every professional in music makes songs or does things that "hit charts".

1. You can make it into the charts and never make any money. We're actually rather good at it but it at least means someone thinks what we do is worthwhile.

2. There are all kinds of charts and if you are reasonably good at what you do, you can at least manage something that means something to you. The kinds of charts I wouldn't consider are those that only require you to get a hit on a page, rather than a full playthrough of your work, which make sit more about marketing than artistic or musical merit.

Beyond that, anything else is really in favour of my point, which is that if you aren't making music to share with the world, what you're doing is worthless.

your "worthless" is a bit broad. People make and do things all the time that are only of value to themselves(or a small group of friends) and are only meant to be of value to themselves. They are not worthless. Taking music as an example, strumming guitar and singing happy birthday might delight a child at a birthday party, recording a xmas song and playing it to friends over the phone might be "worthwhile" and so on.
But if you are thinking yourself a serious musician and not getting your work out there then you are deluding yourself to some extent, particularly now it is so easy to make work public (if not noticed). Similarly if you think the value of your music is in the short term financial/social gains then you are deluding yourself. I used to have an act back in the early 80s that I thought was a total failure. Got played on the radio a couple of times and that was it as far as I knew. Years later a friend (promoter for Nirvana for part of their Australian tour - quite a funny story) introduced me to some music luminary and asked "do you remember ""insert band name here", and he replied yeah, the legendary "insert band name here"" Then he introduced me as that person and the guy was really excited to meet me. Apparently a couple of my songs were huge on (gay) indie radio in Adelaide and Melbourne - a guy even resurrected them online as part of a legends of early Aussie electro dance music playlist. The songs are awful as far as I am concerned but they had an impact that I was completely unaware of. So they had worth even under your criterion but it is not always obvious if that worth is being realised. Was about 10 years later for me. Longer for the online thing which I only came across a couple of years ago

[BONES]

You're not rejecting Lady Gaga level stardom, you're just jealous.

I'm more envious, if anything, because you have to think that people like her love the music they make as much as I love what I do, yet they have the good fortune that what they love also sells well.
Meanwhile, I have to go all the way back to the early 1980s to find something I might be able to do commercially without selling my soul. If you go and look at my RetroAktiv thread, you'll see a whole list of songs that were commercially successful and that I really like. That stopped happening at all by the mid-80s as the Stock-Aitken-Waterman money making machine hit full-stride and record companies remembered how much easier and more profitable it was to manufacture stars than to unearth and nurture them.

In the end it's just luck of the draw - you can be amazingly good at what you do and never find a commercially viable audience for your work. Of course, the other thing with the Lady Gagas of this world is drive and ambition, two things I sometimes wish I had a lot more of, although most of the time I see it as more of a burden than a boon. A good example is that in a recent interview with Sting and his current guitarist, it came out that they both try to find time every day, even in the middle of a tour, to practice their instruments - chords and scales, finger exercises, the whole box and dice.

That's a level of commitment to craft I could not even have imagined. I've always thought that the great thing about playing regularly was that you'd never need to practise or rehearse and you'd get heaps better at performing but these guys still make practise a daily priority. Part of me thinks "wankers!" but another part of me is in awe of their commitment to their art and if I compare myself against that, then it is obvious that I am completely unworthy of success. I am fine with that, it's not why I do it, but it is also frustrating that we still lose money on every release, no matter how hard we work at it.

The other thing for me is that I find writing songs really hard but the music part of it is usually pretty easy, so I tend to think that if you're doing music for museum installations, it's probably something a lot of us could do if we had the contacts to get the work. My bandmate has done a few collaborations with an artist that he says requires almost no effort compared to what we do for NOVAkILL, yet it is probably heard by more people and he gets paid for it. We'd love to get some score work but we have no idea how to break into that, beyond having scored a couple of short films for friends, which led nowhere. But for me, writing an album of consistently good songs is a real challenge, whereas doing music for film or TV or whatever would feel a lot more like rote work.