Ok, to make a long story short:
Get a music teacher and especially: Get a singing teacher!
All the best!
The best DAW – the one that is comfortable and familiar to you.
At first thought I would agree, but then, think for a minute about typing anything here in this forum – didnt we all get used to having to insert html just for formatting text or simple line breaks ?!?
Well that’s an exact analogy that I experienced with Cubase – I was so “familiar” to doing things the way I always did, that I completely forgot that there might be an easier way….. until I worked with Studio One with its ultrafast drag and drop for the first time and thought ‘oh…. so adding an effect can actually be THAT easy.’
Okay, okay, before this is getting another Cubase, Logic, Ableton, Reaper etc. can do that too and better thread, let me bring it back to what really matters and that is, that it suits my personal workflow best.
That’s most of the time starting with an idea that comes from playing live, either guitar, a bass line or piano. Doing several takes with live instruments and then comping them to the best take cannot be easier than in the latest Studio One version. It’s a dream and fun to do that.
However I keep the midi editing on a real basic level. If you want to do a lot of midi editing, Studio One might not be what you exspect. Although I personally dont miss anything there, I read on several threads that SO cannot compete – and doesnt want to compete – with Cubase, Logic etc.
In the end it’s pretty easy – you get full functional Demos of all major DAWs on the market that you can try for 30 days…..
Reading the last posts there’s one thing I like to add: You know, gballx, before Studio One, when working with Cubase, it was the same for me like you describe it: my workflow was adapted to the mechanics of the program.
But that’s not the way it’s supposed to be – your DAW should support YOUR workflow, right? It should be a tool that adapts to the way you like to work so you wont get thrown out of your creative flow.
So no matter what your DAW is, this is the criteria for me.
So yes, Benji, definitely give Studio One a try. But in the end all that matters is that you will find the DAW that supports you and your creative workflow best and I hope you’ll be as happy with it like me with Studio One
Cheers and good luck ,
switched to Presonus Studio One in January 2012 after being a Cubase user since Atari ST days.
I have never been able to produce such an amount of music since I made that switch… thanks to S1, I have at least material for the next year or two on my harddrive…why? I can sum it up in one sentence: Studio One NEVER throws me out of my creative flow!
Absolutely amazing and well deserved, Mr. Pinkster And what makes it even more amazing:
“Member Since: March 2011”
And let’s not forget, it’s the first month after the price increase, so it is even more a reason to celebrate. Sales still going up AND happy authors
As always, thank you Eric for doing this!
Hey, this might have been a firefox/windows/flash player etc.. issue, since I experienced this for a few days also on youtube….. I think it just went away, but I’ll keep an eye on it.
....but only at Tim’s and PinkZebras portfolio and new items
Love how you guys are managing to turn circumstances to your advantage, I think the term ‘make a virtue out of necessity’ is the right one to use here
Must have been hell of a lot of work and maybe it will inspire Envato/Audiojungle to work even faster on the promised new search engine
I like to nominate this awesome track by TacoMusic
Constructive feedback should in theory contribute to improvement, which raises quality which is good for all of us. The problem with a generic rejection is that the author does not know if it is:
- Composition quality
- Production Quality
- ‘marketplace policy’ (I assume this means something other than the music)
If you sell files on this marketplace, you will be treated like a professional (as will everyone else here). As a result, it’s your job as a professional composer to be able to work out the answers to the question above, not AJ’s.
If you do this for a while – whether you work in stock, music-to-picture, or other aspects of music media – you will end up working with people who:
- Give no feedback at all.
- Give too much feedback (Yes, there is such a thing).
- Give feedback that makes no sense.
As a composer, you have to work out what it all means, and then you have to be able to self-critique your work and work out what’s wrong with it. Sometimes it isn’t obvious, sometimes it is.
Besides ,by not giving detailed feedback for hard rejection, they 1) speed up the review process and 2) are actually helping you develop your own ear/intuition and ability to evaluate your own music, even if you don’t realize it at first.Sure it’s annoying if you get a track rejected, but work out WHY it was rejected. That’s your job, not AJ’s. As explained earlier, giving soft-rejected tracks feedback is a far better use of reviewers’ time than giving hard-rejected tracks feedback.
Thank you, Gareth, this just sums it up and there is really nothing to add. As far as I had the chance to listen to some of the hard rejections here on the forums lately, I can totally understand why they were hard rejected and I am really glad that obviously AJ took the 100.000 item mark as a milestone to raise the quality bar.
All that’s left to say is: