![]() It is your 24/7, primary advertiser, customer service representative, and even retailer for many. To me, a website is a company's most important asset. Personally, I judge a company a great deal by their website. I remember many times doing everything I could to avoid needing to go into that website and when I had no choice, it was always a pain. There were too many links, too many categories, too many products, too many services, too many different GUIs and layouts, etc. I needed multiple accounts and logins and when they tried to conslidate things, it still confused the hell out of me. But I just found myself lost in the heap of things, especially their website. When Avid acquired Digidesign, it seemed like an okay idea - everything under one powerhouse of a roof. I've also watched Avid's Pro Tools announcements at NAMM and for the most part I've always felt like I'm not supposed to be in that crowd - too often the content doesn't apply to me. I purchased the 3rd Generation Mbox Pro shortly after it was released and by the time I wanted to sell it and get something better suited for my needs, the value had dropped so low that it made just as little sense to sell it as it did to keep it. They release more high end products, tools and features, have a support system designed for big industry (requiring a fee), and continue to do strange things like release a new line of Mbox interfaces (that were actually quite good), and then discontinue them soon after. Their time, energy and passion continue to pour into the high end user, and the rest of us tend to get the left-overs. ![]() All these years later in 2016, I still feel like that's the case. However, when they targeted the smaller, home-studio market, it quickly became clear that said market was not their expertise or priority. Pro Tools was designed for top tier commercial use and in that context it has pleased many users and produced many great works. I found it harder to trust that they wouldn't keep carrying that same "Well, I guess if everyone else is doing it" attitude down the road. While Pro Tools no longer has that restriction, the fact that they took so long to lift it (and while other DAWs didn't have that problem), said something about the company. When Pro Tools said we could only use a cheap Mbox, or a bankrupting HD system, we were being forced to express ourselves in the way they wanted. It's like someone or something telling us we're not allowed to express ourselves in the way we need. Our imaginations don't understand the concept of boundaries, so when we attempt to translate that creativity honestly and vividly, but get told we can't because of a cable, a weak signal, a software glitch, a crappy preamp, or non-sufficient funds, it burns us to the core. If there's one thing any creative person loathes, it's limitations. To a beginner, this may not have mattered so much, and it didn't to me at first, but once I started learning what else was out there and wanted to upgrade, it meant sticking to the one, mediocre Mbox family, or paying for a whole new DAW in order to get something else. Pro Tools had a handful of other pluses, but my hangups were steadily outweighing them more and more.įor many years, Pro Tools restricted you to use its proprietary hardware. Granted, I'm exaggerating (not really), but you get the idea. Suddenly, you're being re-introduced to things like showers, hot meals and other non-waveform humanoids - the luxuries you didn't have while serving your time in solitary confinement. Some DAWs make you feel like you're serving a life sentence in post-production, and each time you come out of that workflow prison you have to adjust to the world that hasn't waited for you. There have been times that after a long editing session I've had to spend about 10 minutes wandering around my room looking for clues as to the date, time and all the surrounding events I've missed. ![]() Tedious editing is one of the many reasons workers at the helm grind out a task non-stop, only to find they've finished it on a different day than they started. Anyone whose had to "clean up" audio, do vocal compilations, fix strange anomalies, etc., would know how valuable a good editing workflow is.
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