- New pro tools 12.6 pricing full#
- New pro tools 12.6 pricing pro#
- New pro tools 12.6 pricing professional#
Take me and/or my post as seriously or as unseriously as you like I don't particularly care. My post isn't my own personal experience, it's the anecdotal experience of virtually everyone in my large, international, age-diverse social sphere. I've been in bands for decades and toured the world as a musician.
New pro tools 12.6 pricing professional#
I've made records with more professional producers and engineers than I can keep track of, in studios all over the country. I'm personal friends with nearly every other working engineer and studio owner in town. I have had dozens upon dozens of interns over the course of the last fifteen years, coming from a variety of musical, cultural, and economic backgrounds.
New pro tools 12.6 pricing full#
None of us are that important here Sir.I'm hundreds of full length recording projects deep into my production and engineering career at this point. It does not, however, mean that "everybody else" feels the way you do.
New pro tools 12.6 pricing pro#
Your personal experience with Pro Tools sucks, I get it. Generalizations based on personal experience does not equal fact or truth. And yet there may be some who believe that comment and others who don't. I don't take people who feel that they can speak for the masses seriously.Īll vocals recorded with a U47 sound horrible. Sorry, I don't subscribe to the "because I say so" mentality. So you see, that discredits the nonsensical generalizations found on this thread. And guess what? Some of them use Pro Tools. I interact with quite a few musicians and engineers. Here we go again with more generalizations "A generation is coming up with zero interest in or experience with Protools." It’s going to become the DAW for complex recording projects needing full service commercial studios only (a shrinking demand, though one that’ll never go away), everything else done in the DAW of choice. A generation is coming up with zero interest in or experience with Protools. Protools is largely for the 40+ crowd and those who have to assist them IME. "Beatmakers and young producers don't use it"įirst off, how on earth do you feel that you speak for all musicians? Secondly, after a comment like that how can you expect to be taken seriously? Especially when the DAW is the out-dated, clunky Pro Tools.Generalizations based on personal experience does not equal fact or truth. Swapping files between DAWs is just another time-wasting step. I don't want to tie clients down to working ONLY in a PT-equipped studio I want to be collaborative and make it easy for them to take the work home and experiment and come back with fresh new ideas, because these days, that's how records get made. I want to be a studio that can open ANY client's demo sessions, freely exchange files, etc. That's been my biggest motivator for learning new DAWs, and my recent switch to Studio One (though my intent is to buy and learn other DAWs over the coming year or so). For them, PT is archaic, overpriced, and makes sharing files with their peers and their clients a tedious hassle. Even my intern, assistant, and engineering staff - all of whom are looking to get into full-time professional audio work and all of whom major in production and engineering at a major music school - use Pro Tools ONLY when they're either at my studio or at school. Beatmakers and young producers don't use it because, frankly, it's terrible for composition.
I can't remember the last time a self-recorded band sent me PT files it's always some other DAW or generic WAVs. These days, the cost of entry is higher with less value in return, because there are other DAWs that run circles around PT (esp for contemporary production styles) and the user base is extremely fractured. Getting into the platform was affordable and made professional sense (hell, it was a professional necessity), because EVERYONE - audio workers and musicians alike - was using it. When I first started exploring professional audio work, there were mboxes and dig 001s and 002s and even the M-Audio Pro Tools stuff.
A key difference now is the cost of entry - and especially the cost of sustaining it - for the youngest generations of upcoming engineers.
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