@Frenzied Unicorn Productions as it should. The "cake and eat it" crowd who want real tape, but not wah and flutter, valves with no noise or that "retro sound" that was actually created decade's ago by genius engineers working against the limits of their hardware.
Someone wanting to be unique makes them generic, because almost everyone wants to be unique. Accepting your true self and true interests is what makes you "you", and that's what makes you unique. And use the knowledge as a foundation not a copypasta sauce.
Re: Pro Tools. It became the “standard” because once upon a time, personal computers (Mac, Windows, even Amiga) just didn’t have the computational grunt to do multitrack recording, mixing, and effects on the main CPU. What Pro Tools brought to the party was dedicated DSP hardware - the main CPU is relegated to just drawing the GUI, and doing some file system management tasks (IIRC, the DSP card needed a compatible SCSI card - possibly part of the entire package, I just don’t remember - and did bus-mastering DMA across the NuBus; but the main CPU & OS managed the directory structure, etc). Then inertia set in, and, well, y’all know the rest…
Been using Live since 2014. Pro Tools was and is still a shitty program because it’s poorly written and poorly designed. Producers, hello. Keep using *your* DAW. I don’t have answers that you want to hear.
About glen: this man is sharing a lot of knolege for free, he's inspired by music and how it works. we all should be thankfull because he's sharing knowledge with us, this shared knowledge he exported took a loot of time (for years) and people are sharing it for free, he is helping musicians out, like making musicians sound better and making music more inclusive. I've been through home recording since 2007, when I had my firt computer, and then I decided to dedicate my life to music. As a musician I can say before you get to any studio you got to test if every thing is right, home recording is the way. Of course a home recording will not bring a gigantic result but knowing what it how it works from scratch helps a lot, even when you are practicing alone in your room alone. Even when you just want to play. Thank you Glenn, you're a great man and you are sharing preciou information. You inspire people to go on, and thats what matters. Thank you again, Glenn, you have a big heart. Cheers
@@adamkahn8645 I'm a dork with free time and I figured out how to make simple beeps and boops. First is knowing your audio hardware and learning how it interacts with your computer. Then you add tracks to record to, this is where you place MIDI tracks or tracks from your interface. Essentially, just play around with it and Google what you want to do. Don't just Google how to use the software but Google how to use VSTs, how to use the virtual MIDI keyboard, how to compress the audio tracks and so on. Reaper may be known for its complexity but you will have the issue of learning your DAW whether it's FL Studio or Logic Pro.
This reminds me of a story that my Linux system administration professor used to tell. He used to work in the University data center. One time, his boss tasked him with buying some new servers and said that the most important thing was to make sure the server had as many blinking lights as possible. This was because they had found from experience that when the congressmen would do their yearly tour, they were always more impressed and willing to give more funding, when there were more blinks lights.
Love this, and 100% accurate. I run a studio. U87? Check. Copy of PT that I don't use? Check. Wall of fancy tube amps? Check. Loud playback with sub? Check. Some of these things are genuinely useful tools. Some are not. All of them are client bait. One thing to add to the list - big collection of fancy guitars that most clients will not play (even when they really really should)
I’ve heard a few studio owners with large format mixers like Neves and SSLs say that they honestly don’t use the desk that much and they just keep it because it looks badass and gets them business. Fair play if you can afford the electricity bill.
I worked as a tech at an audio school with a 32 channel ssl 4040, and 90% of the time students just sat their laptop on the ssl and patched into the monitors. It was pretty funny actually!
My grandpa used to say all the time… “It’s like the guy who buys a Cadillac but then can’t afford to put gas in it!” 😂😂👌 But honestly, if you’re “rich” enough to buy an SSL console, please use it for other things than playback. And please make it sound as good as Hugh Padgham would. We’ve all known a bastard in high school who started to play guitar on Les Paul Custom and a decent stack he got for Christmas when all your parents could afford was a Jay Turser and a 10-Watt Crate amplifier with built-in effects. Chances are… you probably still play and he phased out of it cause he got bored and sold his gear
@@carlroberge7535 lol too true... you think people now don't want to take the time it actually takes to do shit 'properly' or at lease the understanding of what you're actually pressing and what it does to the signal path... microwave style... you can get a pretty good micro meal but i'm sure a chef that makes his shit from scratch will always be better. no recalls no imagery just your meters and ears.. 🤘
All the tech desk guys at my uni despised protools. "If you have to put 'pro' in the name, you know it's going to be a letdown". They made a point to put reaper on all the machines and half the tutors used reaper for their own work too.
@@SBMech Yeah, FabFilter definitely gets a pass and they can name their products whatever cliche name they want. lol But I still wonder why they didn't go with "Fab" instead: Fab-Q, Fab-MB, Fab-L, Fab-R, and so on.
Thank you for including hip-hop in the conversation. I know that the process of recording metal and hip-hop are two TOTALLY separate things, but it’s nice to have a little perspective on both ends ☮️
Console one fader and channel strip is a great system in my opinion. That said I also use an MPC Live and a Tascam SD32 for songwriting. I agree with you though Glenn. I have a purchase rule for my studio I cap my purchases off at $600 for any one piece of equipment at any one time unless it is a main piece of gear that is needed. I do not operate a commercial studio but I do have clients that I seek out that I want to work with or they are current music students, other than that I am working on my own material and I am clearing my plate this summer to just focus on that.
For the ProTools it’s just a convenience because everyone has it in their studio at least the majority especially out here in New York so it just makes sense to get that so you know what’s going on you can tell the engineer what you want as an artist producer etc. and you’ll know how to use it along with them which makes it easier. I totally agree with you on the flipside which you were getting your point across is that you don’t need it which is the main purpose you don’t need it OK and I repeat LOL. Cool video
I have both a Mac and pc, I have gotten sessions by different people just because I had either as in "oh you have x you must know what you're doing" musicians never cease to amaze.
The first thing I did after completing my diploma at the SAE was to forget all about Pro Tools as it was there that I got put onto Reaper best thing the SAE did.
@@0oTHEJACKo0 Don't think it was part of the course but several instructors showed it to us. May have had somthing to do with the Avid push to up grade the Pro Controll to what ever it got replaced with....
@@brianwilson2904 Pretty nice, that you got in contact with the best DAW in the world (not even kidding). When I suggested reaper only in a sidesentence, the maximum response I got was "we are well aware of reaper". -> continued to use pro tools :D But mostly the reponse was complete desinterest. It's impossible something could be better for 1/10 of the price of pro tools. It is called pro tools, so come on. It muste be pro.
😂😂 probably a cost effective way to do your coursework after spending 20k a year on fees... don't they still have the big arse consoles ? what's the point of going there to learn reaper ... after leaving SAE, however stupid their system was and sounds like still is, I landed me my first gig in a commercial studio with the knowledge of the 4000+ and Neve VR. granted it took some time to build up I didn't just go in and start recording madonna but slowly but surely 😉
This is a great topic! I worked in a studio that dealt with a lot of hip hop guys and they always gave us a list of gear that they NEEDED to record. The Avalon preamp was always on that list.
@@rainbowkrampus I don't know if it's where it got *started* per se, but I remember Jay Z's engineer Young Guru say he tracked vocals with an Avalon 737.
My last band recorded In a studio with really nice gear and preamps. We actually used a modded neve console. All real amps, only one re-amp due to our request for a different tone on one song. All vocals were sung through the classic Neumann. The engineer had protools only for clients who brought projects In that were recorded in protools. He called it slow tools as well. He used a combination of different cubase versions based editing functionality then mixed everything in Nuendo. It was a great experience. I'm proud to say none of the "garbage" gear listed here was at all present in this studio. He's on a PC not a MAC, and attracts clients no problem. One thing to Iook for In any studio is samples of previous work and a variety of genres as well as ones related to the music we are making to hear the quality of mixes we can expect from whichever studio we choose. Also it is good to book a tour and meet with the engineer/mixer to see if they are a right fit for you and your band. If the vibe isn't right book somewhere else. You're paying them, so make sure you will be able to achieve the results you want. They need to be easy to work with and so do you and your band. You're paying someone for their expertise to get you to sound your best. Let them do their job. Your job is to show up know your material have the instruments tuned and set up with new strings and gear that is working and sounding good, if not.... then you're paying studio time to use gear that is better than what you have. Great video.
Glenn, I cannot describe how many bands were hesitant to work with me because I didn’t use Pro Tools. I’m a Logic user, have never had any complaints about my mixes or workflow on Logic and when the band works with me the sessions are always smooth. The fact that I have to do the whole “yeah, I don’t use Pro Tools, but…” shtick is ridiculous.
I'd say the controllers (“mouse”) do have an actual use: depending on your situation, it can be a huge plus to avoid carpal tunnel syndrome or similar issues (helps to not develop the issue, and to not work in pain if you have one). If you have pain sometimes, consider this option. This being said, you don't need a huge console. Their are way smaller solutions. (Check Loupedeck for example, though I don't know how good it is for music production.)
In the late '90's I had many musicians spewing out compressor model numbers , mic numbers and labels , converter names . Here I am 2021 , with a ton of high end compressors , mic pres , mics , and Lynx Aurora converters , Genelec monitors and clients don't seem to give a shit .
"Are those impulse responses and drum samples we're hearing?" That's a great question and something that I've had to resort to with my "studio" From the very first "song" that I recorded I noticed that recording music with quality components and real instruments was not going to be cheap, then found this thing called "acoustic treatment" Nowadays all the money I'm saving will be used to buy some panels and bass traps so I don't lie to myself with my "studio" and the foams I have, because in the end I still have to use impulse responses and drum samples for my projects.
Wow thanks. This is some great advice for when I'm finally ready to record my newest hit record. I just gotta write it. And find a band. And get some singing lessons. And learn to play an instrument.
So true with the “endless options” part of software. When I recorded my album, the engineer spent a solid hour in total just finding a keyboard sound for like 2 songs.
yes, it is better to dig through all the options that are available, select the best ones, then remove all the hangers on. digging through masses of plugins and sample libraries can be a real mission, and in the end... it is more of a detriment.
I bruilt custom mains…12 inch woofers, 8 inch low mids, 5 inch high mids, and a horn tweeter. Built a custom 4way crossover and a nice custom cabinet…took me about $400 and a weekend for the pair…..clients seem to love them lol
Morning Glenn, and the rest of the early risers out there, I was at a local recording school that charges wayyy too much for tuition the other week, they had that fake Pultec copy. called them out on it in passing and they get kinda weirdly defensive saying it sounded “just as good”, interesting choice coming from a place that charges 30k a year...
Out of context but, ad before the video goes: this is a switch bike, no this is a switch bike, no... *skips ad, this is a vintage Neumann u87 manufactured in Germany. So smooth
One suggestion: a video showing the recording of a song with the cheapest gear there is; mics, amps, axes, cables, drums, EQs, compressors, etc. Would the mix make the whole difference?
I disagree with some of the hardware controllers not adding anything. Sometimes it’s helpful to be able to turn two knobs at once or move to other knobs quicker than a mouse
I do not record music, but I color grade. My color correction console lets me be three times as fast as working with a mouse, but I know that, despite the simplest one costing over a thousand dollars, it is just three mice and a pair of knobs that shouldn't cost more than 70 dollars. It's not the usability, is the cost is associated with it.
Yeah sometimes you need to move 4 or 5 faders at once, but with grouping, you can do that with one mouse move. Or you can use automation lines. The real deal with these controllers was to attract old farts who are used to large consoles. Even the way consoles are patched are modelled after how they work... The aux sends, the groupings in the faders, etc.
with some controllers you can to multiply moves in one go. Having the option to have 24 faders(that are motorised) and 24 encoders that will do the same in on any channel you select. The low or hi gain is always the same knob and while you turn the knob you listen to sound you don't even have to look at the screen, Whit a mouse you have to look at the screen and are therefor a potential victim of mixing by eyes. I do agree that controllers have no real effect on the sound and if they are intergraded badly into your DAW you will be going back to using the mouse because it works.
@@humancaos yeah that was the other benefit i forgot to mention, is being able to look down at the controller and use your ears rather than what the settings are
Depends on where you invest. Room treatment? Hell yeah. Monitors that work well for your ears and tastes? Absolutely. Invest where it actually counts and you'll outdo yourself.
I agree with the daw controller point but personally I notice a faster workflow when trying to find a good balance as it allows me to close my eyes and mix, allowing me to focus on the sound instead of being bogged down by the visuals, don’t get me wrong I can achieve the same results without it but it makes it more fun and engaging to mix with your ears, just something to think about.
I'm going to school online with Full Sail University for Music Production. I learned Logic in a previous class, and am now learning Pro Tools in my Audio Workstations class. I HATE IT. There's so many dumb little things wrong with it. It's so much harder to use than Logic.
Maybe because you learned Logic before Pro Tools? I can't stand Logic, or most other DAWs for that matter, thier work flow makes 0 sense to me after coming from Pro Tools.
Exact same experience.... they made us use a ProTools rig with an S6 surface... HATED it .... just found ProTools completely unintuitive... In my case I prefer Studio One, but to each his own... as long as it's not Slowtools ;-)
i felt that growing pain using Pro tools after learning Logic. Currently using Cubase as my rig is now windows, but Pro tools unlocks when you learn the shortcuts. but lets be real if you aren't vocal comping, or recording full live bands or orchestras. Pro tools is not the play. Especially if your world revolves around midi. Pro tools just integrates really well in a legit studio environment when you have the DAW act like a tape machine (not a creative tool), and once the person running the DAW is an expert with all the shortcuts during tracking. After I left the studio and went home I would open Logic or Ableton. In the end the DAW choice doesn't even matter. You can accomplish pretty much anything on any DAW out there. so whichever DAW makes sense and works for your needs is all that matters.
Love reaper. Im new to learning mixing in general but im doing everything i can to learn. I currently doing a beginner course on udemy, learning live recording, bought 2 plug ins( rx and ozone), and multiple TH-cam video tutorials on reaper and mixing tricks. My only problem is that the friends that i have who have garage band who has more experience than me who wants me to get it and insist i learn it his way.
I bought my avalon for $1700 brand new about 10 years ago. I primarily used it for hip hop vocals, but once I shut down my studio it sat there for years. I began my voice over career last year, and the name alone had secured so many contracts for me…that I’m grateful that I still had it! Now I know I could do the same exact job going direct into my Apollo interface, but damn, clients are sold on the name of the Avalon and pro tools lol. But now that my subscription expired and I can’t update pro tools, I’m most likely switching to Logic Pro, but since pro tools will still open and work, I can still respond with having pro tools!
I remember having to do a Pro Tools module at uni (our standard DAW was Logic) and that module was the single most stressful module of my entire time at uni because Pro Tools is so horrid to use
I taught myself on Cubase, Then I decided to go to my community college because they had an audio production program. There I worked on Pro Tools, I even got a deal on Pro Tools software from the college bookstore. That was years ago and I'm still using Cubase. It seemed to me the main purpose of pro tools was it worked hardware. And at home it's just me at a desk with an interface.
Even I, as a Latvian, haven't heard of that brand and didn't know that apparently they can outperform Neumann mics. I guess I'm also guilty of brand association. :D
MXL make good clones of Neumann for like 60-100$ I have a MXL990 - it's a truthful copycat of Neumann TLM 102/103 for 1/10-1/20 the price....they (MXL) also make MXL V67, it's a clone of Neumann U87 for like 150-200$
In defense of the DAW controller boards, I have shaky arthritis hands. I save time not having to fix errors I made while accidently double clicking the wrong thing with a mouse on the screen.
in light of the title I agree that it is not 100% needed to get a good result for the client. But only because he couldn't figure out how to use his Mackie with his DAW does not make the Mackie a bad controller only he was to stupid to learn how to use it, it's often the case for bad experience with any device.
If you bought it back in 1984-2004 and still use Pro Tools & Digidesign 002 / 003 in 2021 chances are you have arthritis for you are an old geezer by now 😂
I do have a desk sized-mouse, but this desk-sized mouse is my 32 preamped inputs, my input signal effects processor, my EQ and recording interface. There's 8 microphones running from the drum room into my desk-sized mouse. I use Reaper but I use it strictly as a tape machine for tracking and editing on a Mac, because the Mac talks to my console and Apollo Twin perfectly without the need for drivers. I use all outboard compressors (stereo matched Distressors and an 1176). It also is my monitoring interface via monitors and headphones and includes all my talkback funtions for the drum room, etc and I can control the console wirelessly with an iPad from the drum room so I don't have to run back and forth from the control room which is a miracle for setting gain levels. Not bad for a 60lb mouse right? I don't really lean on Reaper that hard and I don't use a lot of plugins because I like to have the most available power possible from the CPU and I like a neat, uncluttered screen. It's not a popular way to do things and probably not even the best way to do things but its what works best for me because I like to touch stuff. And it sounds really damn good. Did this entice any local musicians to come record at my studio? NO! It seems that they preferred to rent some janky place in the hood for Pro Tools, because Pro Tools, and the setup there is basically just Pro Tools running on a PC, some Mackie monitors, a cheap interface and poor sound management in the room. A lot of others just preferred to record themselves using older hacked versions of Pro Tools in again, bedrooms with no effort given to sound management whatsoever. I even acquiesced to the ultimate no-no and offered to do a song for free. They said they preferred Pro Tools. I've listened to their albums and they sound pretty terrible. I won't drop band names but there's audible clipping and the bass is EQ'ed like a guitar, the vocals always sound like they were singing through an old telephone and.. I won't even go into it, just terrible. I can honestly say that most bands you encounter really don't care about actually sounding good and they might not even know what sounding good is! You can certainly save your money and I can honestly tell you that they like to hear "Pro Tools" mentioned. These days it's just a really cool recording studio for my own personal use.
I have one of those KT76 units that's retubed and calibrated and it sounds okay. I also have the KT-2A and it's sat unused in a rack since I used it the first time.
About 14 years ago I did mainly graphics and music (programmed mainly at work so I didn't had to fuck around with unstable PC) so mac was the choice and back then os x was way smoother and stable than Windows. For over a decade I was blinded by the flashy lights and I was in denial of the real situation. I bought a PC about a year ago and I have not regret it at all. The world has changed a lot and the availability at quality of free and open source software is amazing. You can run a full multimedia company with free software and with very cheap software. I use Reaper and it has been well worth the money. It has almost everything in it, only thing that sucks about Reaper is that it is missing the feature of automatically brewing my morning coffee. But when my PPMS gets worse I think I will get help with that, but for now I am happy that I am still able to do it myself.
I honestly would never choose a studio based on the DAW it operates with. I tried reaper and I felt as lost as when I first tried Ableton, damn. Got nostalgic watching that SSL Desk. I learned to mix on an 80s 4000E, love that thing to death. AS always Glenn, amazing content!
Yep. I bought a PreSonus Faderport about 10 years ago because I thought automating my mixes by hand would add a "human feel" to my mixes. Turns out I was spending more time recording automation passes because I overshot them each time, and in the end I just clicked in the automation points I wanted with a mouse.
@PenileAugmentation Made me think of Ableton's Push, but it's kinda like the controllers mentioned in the video, it's just bringing controls that are on the screen into the physical realm. I mean, it's also a MIDI pad controller, but you can get most of it's functionality with a Novation Launchpad for half the price
I have a buddy with a Behringer UMC1820 and a UA Apollo Thunderbolt interface. The Midas Preamps run native on the U-Phoria unit sound just fine, but the clarity, head room, and noise floor all improve when using the UMC as an ADAT through the UA Apollo - but it is VERY slight. TBH, it's probably more to do with power delivery than anything else, so if he had a power conditioner those results might nominally be closer together. That said, there is quite the price difference between those units, and the main selling point/cost driving factor of UA gear is the onboard DSP. Pretty sure anything above the higher end units like Focusrite Clarett and the fancier models from SSL or Audient just becomes diminishing returns, placebo, and snake oil, converter chips wise. Main differences in those are going to be in the preamps, and that falls down to personal preference mostly, at least it does if you go with any reputable brand and don't buy the shit-tier products under $50.
The name is why it’s “standard”. Brilliant marketing. Windows has been very stable in last few years since Microsoft refactored the kernel and embraced better practices. For the little bit I used a Mac at work, I was surprised at how many system crashes I had given the rhetoric about Macs. This has just become one of those things that is going to stick around forever, even if it isn’t necessarily true anymore.
Amen. I've been working with practically all Windows versions starting from 3.0, and the new 10 is a fine piece of software. Stable, responsive, handles memory well, and secure (there is a reason why hacker attacks these days focus on social engineering!)
I've never had problems on either Windows or Mac and enjoy using both (not as much as Linux, but I'd never fuck around on that with music production). I do appreciate MacOS from an OS architecture standpoint, though, I'm a sucker for the way UNIXy-systems handle permissions.
@@_Alex_Sander If you have problems with Windows, it's probably a hardware issue of sorts. When Windows 7 delegated drivers to the outer ring of the OS, not even a bad driver could bring it down. But whatever works as you said- I use Reaper and Live, and once those are open and fullscreen on a Mac, I couldn't give less about what computer it is. It's a tool.
@@_Alex_Sander I had only problems once, upgrading from 7 to 10 on an old laptop with proprietary hardware and BIOS. Turned out the System Reserved partition was too small for Windows 10, and it was not possible to change it without losing the Win 7 installation from which the upgrade had to be performed.
Gotta say, I do like me some hands on channel control in the form of an integrated controller keyboard. Faders, mute solo, transport controls etc. Control over soft synths etc.
"don't buy this" is something you don't hear on most of the youtube channels.
respect for that! keep it real!
I lost it at "yo it's Pro Tools, you got my fuckin' money?"
Same
Hot DAMN that caught me off guard
Glenn banging on a tom screaming "CLIENT BAIT" is now my new alarm clock ringtone
The skits and editing on this video was top notch
Glad I'm not alone in that 😂
@@graxjpg my lawyers have advised me not to comment
@@aleksanderdjuran8010 haha nice one xD
now to make it even worse make it really distorted hehe
Funny how clients want unique, vintage gear, but also want to sound like everyone else.
gotta have that djenty tone with nollesque basstone
@Frenzied Unicorn Productions as it should. The "cake and eat it" crowd who want real tape, but not wah and flutter, valves with no noise or that "retro sound" that was actually created decade's ago by genius engineers working against the limits of their hardware.
Well it's client, what did you expect
They all want the same "unique" vintage gear, cuz they all have the same basic hear-say "knowledge"
Someone wanting to be unique makes them generic, because almost everyone wants to be unique. Accepting your true self and true interests is what makes you "you", and that's what makes you unique. And use the knowledge as a foundation not a copypasta sauce.
Re: Pro Tools. It became the “standard” because once upon a time, personal computers (Mac, Windows, even Amiga) just didn’t have the computational grunt to do multitrack recording, mixing, and effects on the main CPU. What Pro Tools brought to the party was dedicated DSP hardware - the main CPU is relegated to just drawing the GUI, and doing some file system management tasks (IIRC, the DSP card needed a compatible SCSI card - possibly part of the entire package, I just don’t remember - and did bus-mastering DMA across the NuBus; but the main CPU & OS managed the directory structure, etc). Then inertia set in, and, well, y’all know the rest…
Finally, a sane point on this. I second.
Good info, I had wondered.
So they did actually need the special hardware, then other DAWs that didn't need it came along, but it was "the standard."
Been using Live since 2014. Pro Tools was and is still a shitty program because it’s poorly written and poorly designed.
Producers, hello. Keep using *your* DAW. I don’t have answers that you want to hear.
Not to mention how it replicates tape decks to entice analog guys. But good coverage on why it became the standard.
'Signing with a label is a lot like being a young boy locked in a room full of Catholic priests!...'
Gold!
HAHAHAHAHAHAHA!!!!!!!
Hahahahaha
I think Catholic Priests are low-hanging fruit. What about Southern Baptist ministers?
About glen: this man is sharing a lot of knolege for free, he's inspired by music and how it works. we all should be thankfull because he's sharing knowledge with us, this shared knowledge he exported took a loot of time (for years) and people are sharing it for free, he is helping musicians out, like making musicians sound better and making music more inclusive.
I've been through home recording since 2007, when I had my firt computer, and then I decided to dedicate my life to music. As a musician I can say before you get to any studio you got to test if every thing is right, home recording is the way. Of course a home recording will not bring a gigantic result but knowing what it how it works from scratch helps a lot, even when you are practicing alone in your room alone. Even when you just want to play. Thank you Glenn, you're a great man and you are sharing preciou information. You inspire people to go on, and thats what matters. Thank you again, Glenn, you have a big heart. Cheers
Hey now, Glenn, that drunk guy at the bar the show was at also bought my CD, not just my parents!
Damn, he bought your parents? I'm sorry.
Holy fucking stroke
I had to read this comment 3 or 4 times lol
Reaper is so great. I love how technical and in depth you can get, and when you wanna be more simplistic that option is definitely there too.
thats what keeps turning me away from recording nowadays. i feel like i need a college degree just to figure out how to use the darn software lol
@@adamkahn8645 I'm a dork with free time and I figured out how to make simple beeps and boops. First is knowing your audio hardware and learning how it interacts with your computer. Then you add tracks to record to, this is where you place MIDI tracks or tracks from your interface. Essentially, just play around with it and Google what you want to do. Don't just Google how to use the software but Google how to use VSTs, how to use the virtual MIDI keyboard, how to compress the audio tracks and so on. Reaper may be known for its complexity but you will have the issue of learning your DAW whether it's FL Studio or Logic Pro.
I've been using Mixcraft over a decade now for the same reasons. It was reasonably priced and has most of the same functionality as the "pro" DAWs
This video should cost me money to watch, it's that valuable. Thanks so much, Glenn!
5:40 - Perfect for waking up my daughter. Thanks Glenn.... I've been in a lot of studios, big and small. A lot of it comes down to the engineer.
This reminds me of a story that my Linux system administration professor used to tell. He used to work in the University data center. One time, his boss tasked him with buying some new servers and said that the most important thing was to make sure the server had as many blinking lights as possible. This was because they had found from experience that when the congressmen would do their yearly tour, they were always more impressed and willing to give more funding, when there were more blinks lights.
Love this, and 100% accurate. I run a studio. U87? Check. Copy of PT that I don't use? Check. Wall of fancy tube amps? Check. Loud playback with sub? Check. Some of these things are genuinely useful tools. Some are not. All of them are client bait. One thing to add to the list - big collection of fancy guitars that most clients will not play (even when they really really should)
I’ve heard a few studio owners with large format mixers like Neves and SSLs say that they honestly don’t use the desk that much and they just keep it because it looks badass and gets them business. Fair play if you can afford the electricity bill.
This is VERY true!
I worked as a tech at an audio school with a 32 channel ssl 4040, and 90% of the time students just sat their laptop on the ssl and patched into the monitors. It was pretty funny actually!
My grandpa used to say all the time… “It’s like the guy who buys a Cadillac but then can’t afford to put gas in it!” 😂😂👌
But honestly, if you’re “rich” enough to buy an SSL console, please use it for other things than playback. And please make it sound as good as Hugh Padgham would.
We’ve all known a bastard in high school who started to play guitar on Les Paul Custom and a decent stack he got for Christmas when all your parents could afford was a Jay Turser and a 10-Watt Crate amplifier with built-in effects.
Chances are… you probably still play and he phased out of it cause he got bored and sold his gear
@@carlroberge7535 lol too true... you think people now don't want to take the time it actually takes to do shit 'properly' or at lease the understanding of what you're actually pressing and what it does to the signal path... microwave style... you can get a pretty good micro meal but i'm sure a chef that makes his shit from scratch will always be better. no recalls no imagery just your meters and ears.. 🤘
after seeing you smashing the Klark Technic crap-unit, you have a place in my heart forever!
All the tech desk guys at my uni despised protools. "If you have to put 'pro' in the name, you know it's going to be a letdown". They made a point to put reaper on all the machines and half the tutors used reaper for their own work too.
Tell that to FabFilter, most of their plugins have "Pro" in the name. 😁
@@Tekkerue That's a good point to be fair, FabFilter get a pass
Reaper is win.
And Fabfilter are pretty awesome too. Love their ProL limiter and multiband saturator.
@@SBMech Yeah, FabFilter definitely gets a pass and they can name their products whatever cliche name they want. lol But I still wonder why they didn't go with "Fab" instead: Fab-Q, Fab-MB, Fab-L, Fab-R, and so on.
@@cmd_f5 And Pro-Q3 is also a beast.
Thank you for including hip-hop in the conversation. I know that the process of recording metal and hip-hop are two TOTALLY separate things, but it’s nice to have a little perspective on both ends ☮️
In the end, it's all about getting the best possible source and mix it the best way you can.
Console one fader and channel strip is a great system in my opinion. That said I also use an MPC Live and a Tascam SD32 for songwriting. I agree with you though Glenn. I have a purchase rule for my studio I cap my purchases off at $600 for any one piece of equipment at any one time unless it is a main piece of gear that is needed. I do not operate a commercial studio but I do have clients that I seek out that I want to work with or they are current music students, other than that I am working on my own material and I am clearing my plate this summer to just focus on that.
I approve of the safety glasses while administering the hammer of truth.
OSHA approved
For the ProTools it’s just a convenience because everyone has it in their studio at least the majority especially out here in New York so it just makes sense to get that so you know what’s going on you can tell the engineer what you want as an artist producer etc. and you’ll know how to use it along with them which makes it easier. I totally agree with you on the flipside which you were getting your point across is that you don’t need it which is the main purpose you don’t need it OK and I repeat LOL. Cool video
I have both a Mac and pc, I have gotten sessions by different people just because I had either as in "oh you have x you must know what you're doing" musicians never cease to amaze.
Love that end tune the eagle has landed. Bloody epic!!!
"Yo it's Pro-Tools, you got my fucking money?" - hahaha... that was gold... resonated too well with me.
Always excellent, thank you sir!
Only recently found this channel. Have binge watched the crap out of it! My favourite channel by far!
Welcome aboard!
This is Glenn's odyssey. Well done! I want the Klark clone of this video in my rack.
The first thing I did after completing my diploma at the SAE was to forget all about Pro Tools as it was there that I got put onto Reaper best thing the SAE did.
where at the SAE do they teach Reaper? That actually would make sense. SAE doesn't do shit like this 😂
@@0oTHEJACKo0 Don't think it was part of the course but several instructors showed it to us. May have had somthing to do with the Avid push to up grade the Pro Controll to what ever it got replaced with....
@@brianwilson2904 Pretty nice, that you got in contact with the best DAW in the world (not even kidding). When I suggested reaper only in a sidesentence, the maximum response I got was "we are well aware of reaper". -> continued to use pro tools :D
But mostly the reponse was complete desinterest. It's impossible something could be better for 1/10 of the price of pro tools. It is called pro tools, so come on. It muste be pro.
😂😂 probably a cost effective way to do your coursework after spending 20k a year on fees... don't they still have the big arse consoles ? what's the point of going there to learn reaper ... after leaving SAE, however stupid their system was and sounds like still is, I landed me my first gig in a commercial studio with the knowledge of the 4000+ and Neve VR. granted it took some time to build up I didn't just go in and start recording madonna but slowly but surely 😉
Great video! The best piece of equipment to invest in is the one located between the chair and computer.
When I hear or see a phrase "industry standard" I can't resist an eye roll
Been rolling my eyes for 15 years on that one.
Here for the support, go Glenn!
This is a great topic! I worked in a studio that dealt with a lot of hip hop guys and they always gave us a list of gear that they NEEDED to record. The Avalon preamp was always on that list.
I wonder where that got started?
@@rainbowkrampus I don't know if it's where it got *started* per se, but I remember Jay Z's engineer Young Guru say he tracked vocals with an Avalon 737.
This is so true, people will ask about gear that they have no knowledge about. It’s about what sounds good not the brand name.
Everytime I watch this guy's video, I feel better about saving money by being a home recording artist.
im a hip hop engineer. and its crazy how many people turn their cheek cuz i dont have protools lol. but i still love your videos!
01:30 #1 Protools
05:03 #2 The Desk Sized Mouse
07:19 #3 Crap Teknik Tube EQ
10:07 #4 Klark Teknik 1176 Ripoff
11:13 #5 Recording on a Mac
12:13 #6 Colored Lights
12:58 #7 Avalon Mic Preamp
14:08 #8 Impressive Wall of Tube Preamps
15:18 #9 Apogee Converters
16:53 #10 Loud Playback with a Subwoofer
17:45 #11 Neumann U87
Thanks for the effort...but it's already included in the description 😉
Love the Bad News t-shirt!
I laughed so freaking hard when you screamed "CLIENT BAIT CLIENT BAIT!!!!" 🤣🤣🤣🤣
My last band recorded In a studio with really nice gear and preamps. We actually used a modded neve console. All real amps, only one re-amp due to our request for a different tone on one song. All vocals were sung through the classic Neumann. The engineer had protools only for clients who brought projects In that were recorded in protools. He called it slow tools as well. He used a combination of different cubase versions based editing functionality then mixed everything in Nuendo. It was a great experience. I'm proud to say none of the "garbage" gear listed here was at all present in this studio. He's on a PC not a MAC, and attracts clients no problem. One thing to Iook for In any studio is samples of previous work and a variety of genres as well as ones related to the music we are making to hear the quality of mixes we can expect from whichever studio we choose. Also it is good to book a tour and meet with the engineer/mixer to see if they are a right fit for you and your band. If the vibe isn't right book somewhere else. You're paying them, so make sure you will be able to achieve the results you want. They need to be easy to work with and so do you and your band. You're paying someone for their expertise to get you to sound your best. Let them do their job. Your job is to show up know your material have the instruments tuned and set up with new strings and gear that is working and sounding good, if not.... then you're paying studio time to use gear that is better than what you have. Great video.
Our local red light district entrepeneurs have had very good experiences to get clients with colored lights.
Multicolor strip lights and don't forget the gaming chair
Love the T-shirt! Godspeed your wife's recovery.
Funniest thing I have seen in ages - love you Glenn!! x
I am a drummer of almost 25 years and I approve your use of rack toms.
Love this series, I sit with my band while Glenn roasts us all!!!
This guy is AWESOME!!! Spitting LEGIT FACTS!!!
Wait, did I just see myself?
yeah! you did! hahahaha!
SNAKE OIL! PROTOOLS IS SNAKE OIL!
@@montanamaxxamillion agreed
tom part with police alarm is best part of this video
also glen in negative shouting run away is good
perfect video for my morning coffee.
Glenn, I cannot describe how many bands were hesitant to work with me because I didn’t use Pro Tools.
I’m a Logic user, have never had any complaints about my mixes or workflow on Logic and when the band works with me the sessions are always smooth.
The fact that I have to do the whole “yeah, I don’t use Pro Tools, but…” shtick is ridiculous.
I'd say the controllers (“mouse”) do have an actual use: depending on your situation, it can be a huge plus to avoid carpal tunnel syndrome or similar issues (helps to not develop the issue, and to not work in pain if you have one).
If you have pain sometimes, consider this option.
This being said, you don't need a huge console. Their are way smaller solutions. (Check Loupedeck for example, though I don't know how good it is for music production.)
In the late '90's I had many musicians spewing out compressor model numbers , mic numbers and labels , converter names .
Here I am 2021 , with a ton of high end compressors , mic pres , mics , and Lynx Aurora converters , Genelec monitors and clients don't seem to
give a shit .
"Are those impulse responses and drum samples we're hearing?"
That's a great question and something that I've had to resort to with my "studio"
From the very first "song" that I recorded I noticed that recording music with quality components and real instruments was not going to be cheap, then found this thing called "acoustic treatment"
Nowadays all the money I'm saving will be used to buy some panels and bass traps so I don't lie to myself with my "studio" and the foams I have, because in the end I still have to use impulse responses and drum samples for my projects.
Wow thanks. This is some great advice for when I'm finally ready to record my newest hit record. I just gotta write it. And find a band. And get some singing lessons. And learn to play an instrument.
So true with the “endless options” part of software. When I recorded my album, the engineer spent a solid hour in total just finding a keyboard sound for like 2 songs.
yes, it is better to dig through all the options that are available, select the best ones, then remove all the hangers on. digging through masses of plugins and sample libraries can be a real mission, and in the end... it is more of a detriment.
I bruilt custom mains…12 inch woofers, 8 inch low mids, 5 inch high mids, and a horn tweeter. Built a custom 4way crossover and a nice custom cabinet…took me about $400 and a weekend for the pair…..clients seem to love them lol
Morning Glenn, and the rest of the early risers out there, I was at a local recording school that charges wayyy too much for tuition the other week, they had that fake Pultec copy. called them out on it in passing and they get kinda weirdly defensive saying it sounded “just as good”, interesting choice coming from a place that charges 30k a year...
What school??
@@SpectreSoundStudios I hope that person tells us.
which school
Tactical dot.
@@chipcaronte ????
Dude, I love the shirt! Bad News and Bad News Tour are EPIC! Way better than spinal tap imo! "Don't leave me Spider, not now!"
That last sentence really is the most important one, imo.
I go back and watch these for fun all the time.
Out of context but, ad before the video goes: this is a switch bike, no this is a switch bike, no... *skips ad, this is a vintage Neumann u87 manufactured in Germany. So smooth
The last question is my favorite.
One suggestion: a video showing the recording of a song with the cheapest gear there is; mics, amps, axes, cables, drums, EQs, compressors, etc. Would the mix make the whole difference?
You are the most calmed shouter I have ever seen. Liked and subscribed.
"Hey, you're not using X, Y, and Z!"
"Do you like my mixes or not? If the answer is no, then I'm not the right engineer for you."
Love the honesty Glenn!
That piano sounded amazing, youtube compression killed it for me though.
LOVE the dig on ProTools! Yes!
I disagree with some of the hardware controllers not adding anything. Sometimes it’s helpful to be able to turn two knobs at once or move to other knobs quicker than a mouse
I do not record music, but I color grade. My color correction console lets me be three times as fast as working with a mouse, but I know that, despite the simplest one costing over a thousand dollars, it is just three mice and a pair of knobs that shouldn't cost more than 70 dollars.
It's not the usability, is the cost is associated with it.
Yeah sometimes you need to move 4 or 5 faders at once, but with grouping, you can do that with one mouse move. Or you can use automation lines. The real deal with these controllers was to attract old farts who are used to large consoles. Even the way consoles are patched are modelled after how they work... The aux sends, the groupings in the faders, etc.
with some controllers you can to multiply moves in one go. Having the option to have 24 faders(that are motorised) and 24 encoders that will do the same in on any channel you select. The low or hi gain is always the same knob and while you turn the knob you listen to sound you don't even have to look at the screen, Whit a mouse you have to look at the screen and are therefor a potential victim of mixing by eyes. I do agree that controllers have no real effect on the sound and if they are intergraded badly into your DAW you will be going back to using the mouse because it works.
@@humancaos yeah that was the other benefit i forgot to mention, is being able to look down at the controller and use your ears rather than what the settings are
That being said, you can buy a small unimpressive looking controller for like $50 and it will achieve the exact same result.
ohhhh Glenn, 45 seconds in and you reveal one of the dirty secrets of the recording industry. Bravo, Sir. Bravo.
Ah yes, the old “better gear is going to make me a better musician/engineer” trope!
Depends on where you invest. Room treatment? Hell yeah. Monitors that work well for your ears and tastes? Absolutely. Invest where it actually counts and you'll outdo yourself.
@@nialldunsmore8336 I agree! Those are obviously excluded from that trope!
I agree with the daw controller point but personally I notice a faster workflow when trying to find a good balance as it allows me to close my eyes and mix, allowing me to focus on the sound instead of being bogged down by the visuals, don’t get me wrong I can achieve the same results without it but it makes it more fun and engaging to mix with your ears, just something to think about.
I'm going to school online with Full Sail University for Music Production. I learned Logic in a previous class, and am now learning Pro Tools in my Audio Workstations class. I HATE IT.
There's so many dumb little things wrong with it. It's so much harder to use than Logic.
Stop wasting money
Maybe because you learned Logic before Pro Tools? I can't stand Logic, or most other DAWs for that matter, thier work flow makes 0 sense to me after coming from Pro Tools.
@@morbidmanmusic GI BILL. I didn't pay for nothin. Congrats. You're useless.
Exact same experience.... they made us use a ProTools rig with an S6 surface... HATED it .... just found ProTools completely unintuitive... In my case I prefer Studio One, but to each his own... as long as it's not Slowtools ;-)
i felt that growing pain using Pro tools after learning Logic. Currently using Cubase as my rig is now windows, but Pro tools unlocks when you learn the shortcuts. but lets be real if you aren't vocal comping, or recording full live bands or orchestras. Pro tools is not the play. Especially if your world revolves around midi. Pro tools just integrates really well in a legit studio environment when you have the DAW act like a tape machine (not a creative tool), and once the person running the DAW is an expert with all the shortcuts during tracking. After I left the studio and went home I would open Logic or Ableton. In the end the DAW choice doesn't even matter. You can accomplish pretty much anything on any DAW out there. so whichever DAW makes sense and works for your needs is all that matters.
Love reaper. Im new to learning mixing in general but im doing everything i can to learn. I currently doing a beginner course on udemy, learning live recording, bought 2 plug ins( rx and ozone), and multiple TH-cam video tutorials on reaper and mixing tricks. My only problem is that the friends that i have who have garage band who has more experience than me who wants me to get it and insist i learn it his way.
That label signing analogy to a room of catholic priests is SPOT ON
I bought my avalon for $1700 brand new about 10 years ago. I primarily used it for hip hop vocals, but once I shut down my studio it sat there for years. I began my voice over career last year, and the name alone had secured so many contracts for me…that I’m grateful that I still had it! Now I know I could do the same exact job going direct into my Apollo interface, but damn, clients are sold on the name of the Avalon and pro tools lol. But now that my subscription expired and I can’t update pro tools, I’m most likely switching to Logic Pro, but since pro tools will still open and work, I can still respond with having pro tools!
"Here's the beer taps, the barf/pee trough, and the bong collection. Make some magic!" ~ early studios probably
thank you glen for all this very handy information that can only be learned with time that we all value so so much.
I remember having to do a Pro Tools module at uni (our standard DAW was Logic) and that module was the single most stressful module of my entire time at uni because Pro Tools is so horrid to use
I taught myself on Cubase, Then I decided to go to my community college because they had an audio production program. There I worked on Pro Tools, I even got a deal on Pro Tools software from the college bookstore. That was years ago and I'm still using Cubase. It seemed to me the main purpose of pro tools was it worked hardware. And at home it's just me at a desk with an interface.
Even I, as a Latvian, haven't heard of that brand and didn't know that apparently they can outperform Neumann mics. I guess I'm also guilty of brand association. :D
I'm VERY impressed with the JZ stuff!
welp, the reissues of Neumann might be "improved upon" but since JZ mics are completely new design & engineering despite the naming scheme lol.
MXL make good clones of Neumann for like 60-100$ I have a MXL990 - it's a truthful copycat of Neumann TLM 102/103 for 1/10-1/20 the price....they (MXL) also make MXL V67, it's a clone of Neumann U87 for like 150-200$
@@gameon2000 MXL are also notorious for QC issues where 2 of the exact same mics sounds 180º apart..
That last bit of advice at the end was the absolute best.
In defense of the DAW controller boards, I have shaky arthritis hands. I save time not having to fix errors I made while accidently double clicking the wrong thing with a mouse on the screen.
in light of the title I agree that it is not 100% needed to get a good result for the client. But only because he couldn't figure out how to use his Mackie with his DAW does not make the Mackie a bad controller only he was to stupid to learn how to use it, it's often the case for bad experience with any device.
If you bought it back in 1984-2004 and still use Pro Tools & Digidesign 002 / 003 in 2021 chances are you have arthritis for you are an old geezer by now 😂
I do have a desk sized-mouse, but this desk-sized mouse is my 32 preamped inputs, my input signal effects processor, my EQ and recording interface. There's 8 microphones running from the drum room into my desk-sized mouse. I use Reaper but I use it strictly as a tape machine for tracking and editing on a Mac, because the Mac talks to my console and Apollo Twin perfectly without the need for drivers. I use all outboard compressors (stereo matched Distressors and an 1176). It also is my monitoring interface via monitors and headphones and includes all my talkback funtions for the drum room, etc and I can control the console wirelessly with an iPad from the drum room so I don't have to run back and forth from the control room which is a miracle for setting gain levels. Not bad for a 60lb mouse right? I don't really lean on Reaper that hard and I don't use a lot of plugins because I like to have the most available power possible from the CPU and I like a neat, uncluttered screen. It's not a popular way to do things and probably not even the best way to do things but its what works best for me because I like to touch stuff. And it sounds really damn good. Did this entice any local musicians to come record at my studio? NO! It seems that they preferred to rent some janky place in the hood for Pro Tools, because Pro Tools, and the setup there is basically just Pro Tools running on a PC, some Mackie monitors, a cheap interface and poor sound management in the room. A lot of others just preferred to record themselves using older hacked versions of Pro Tools in again, bedrooms with no effort given to sound management whatsoever. I even acquiesced to the ultimate no-no and offered to do a song for free. They said they preferred Pro Tools. I've listened to their albums and they sound pretty terrible. I won't drop band names but there's audible clipping and the bass is EQ'ed like a guitar, the vocals always sound like they were singing through an old telephone and.. I won't even go into it, just terrible. I can honestly say that most bands you encounter really don't care about actually sounding good and they might not even know what sounding good is! You can certainly save your money and I can honestly tell you that they like to hear "Pro Tools" mentioned. These days it's just a really cool recording studio for my own personal use.
I always thought the black leather couch was client bait also
I have one of those KT76 units that's retubed and calibrated and it sounds okay. I also have the KT-2A and it's sat unused in a rack since I used it the first time.
I appreciate you playing double agent here. That's said, that grand piano was tuned like shit.
I call it the honky-tonk tuning because it works in honky tonk lol
@@TransistorLSD it's all about context no doubt
About 14 years ago I did mainly graphics and music (programmed mainly at work so I didn't had to fuck around with unstable PC) so mac was the choice and back then os x was way smoother and stable than Windows. For over a decade I was blinded by the flashy lights and I was in denial of the real situation. I bought a PC about a year ago and I have not regret it at all. The world has changed a lot and the availability at quality of free and open source software is amazing. You can run a full multimedia company with free software and with very cheap software. I use Reaper and it has been well worth the money. It has almost everything in it, only thing that sucks about Reaper is that it is missing the feature of automatically brewing my morning coffee. But when my PPMS gets worse I think I will get help with that, but for now I am happy that I am still able to do it myself.
I'd actually like to see the U87 beat down video, Glenn. U87 versus comparable quality but cheaper mics. I've never even seen a U87 in real life.
Not sure they really exist...
Terry Manning uses RØDE NT1000 when he runs out of his U87's (read his comments at compasspointstudios.com/rode.html ).
th-cam.com/video/Nx0rejncKXE/w-d-xo.html
I promise free snacks and beer. And they never find out my hourly rate is 1000 til the end
Damn! Straight out honest at 0:32
😂It’s like watching a knowledgeable Stand Up about music
I honestly would never choose a studio based on the DAW it operates with. I tried reaper and I felt as lost as when I first tried Ableton, damn.
Got nostalgic watching that SSL Desk. I learned to mix on an 80s 4000E, love that thing to death.
AS always Glenn, amazing content!
Yep. I bought a PreSonus Faderport about 10 years ago because I thought automating my mixes by hand would add a "human feel" to my mixes. Turns out I was spending more time recording automation passes because I overshot them each time, and in the end I just clicked in the automation points I wanted with a mouse.
Yeah, wiriting the automation with the mouse by clicking in the points and adjusting them if needed is really a superior method.
I pur hased a tascam 2400 for $800 in 2005.....was always out of sync with my protools le
@PenileAugmentation Made me think of Ableton's Push, but it's kinda like the controllers mentioned in the video, it's just bringing controls that are on the screen into the physical realm. I mean, it's also a MIDI pad controller, but you can get most of it's functionality with a Novation Launchpad for half the price
Dude I love this guy. Entertainment and straight up knowledge
Good morning, yall!
Turn my Boss down so I can hear Glenn. He's not loud enough... yet!
Dude I love your enthusiasm.
THANK YOU for the Pro Tools comment. I’m in an audio engineering program right now that relies on Pro Tools and it’s fucking agony.
i honestly do not understand why people still entertain that bs. lol!
I have a buddy with a Behringer UMC1820 and a UA Apollo Thunderbolt interface. The Midas Preamps run native on the U-Phoria unit sound just fine, but the clarity, head room, and noise floor all improve when using the UMC as an ADAT through the UA Apollo - but it is VERY slight. TBH, it's probably more to do with power delivery than anything else, so if he had a power conditioner those results might nominally be closer together. That said, there is quite the price difference between those units, and the main selling point/cost driving factor of UA gear is the onboard DSP. Pretty sure anything above the higher end units like Focusrite Clarett and the fancier models from SSL or Audient just becomes diminishing returns, placebo, and snake oil, converter chips wise. Main differences in those are going to be in the preamps, and that falls down to personal preference mostly, at least it does if you go with any reputable brand and don't buy the shit-tier products under $50.
The name is why it’s “standard”. Brilliant marketing.
Windows has been very stable in last few years since Microsoft refactored the kernel and embraced better practices. For the little bit I used a Mac at work, I was surprised at how many system crashes I had given the rhetoric about Macs. This has just become one of those things that is going to stick around forever, even if it isn’t necessarily true anymore.
Amen. I've been working with practically all Windows versions starting from 3.0, and the new 10 is a fine piece of software. Stable, responsive, handles memory well, and secure (there is a reason why hacker attacks these days focus on social engineering!)
Personally I’ve had a *lot* of issues with windows, despite doing a clean install at two points etc.
Whatever works though
I've never had problems on either Windows or Mac and enjoy using both (not as much as Linux, but I'd never fuck around on that with music production). I do appreciate MacOS from an OS architecture standpoint, though, I'm a sucker for the way UNIXy-systems handle permissions.
@@_Alex_Sander If you have problems with Windows, it's probably a hardware issue of sorts. When Windows 7 delegated drivers to the outer ring of the OS, not even a bad driver could bring it down. But whatever works as you said- I use Reaper and Live, and once those are open and fullscreen on a Mac, I couldn't give less about what computer it is. It's a tool.
@@_Alex_Sander I had only problems once, upgrading from 7 to 10 on an old laptop with proprietary hardware and BIOS. Turned out the System Reserved partition was too small for Windows 10, and it was not possible to change it without losing the Win 7 installation from which the upgrade had to be performed.
Gotta say, I do like me some hands on channel control in the form of an integrated controller keyboard. Faders, mute solo, transport controls etc. Control over soft synths etc.
For Rest,repose, Having well known Musician TH-camrs like Ryan Fluff and Jared Dines helped a lot too I think x)
...and? Does that not tell you something?
That's the point lol
They got big entirely on their own, without the help of a record label.