Are you kiddin’? I heard from many professionals that they changed to Cubase because it sounds better. It seems to sound better with summing. So there has to be another reason. Maybe the plug in is just programmed different?
I know you’re a hardcore Cubase fan Mat, but I’m yet to find one person who says Cubase sounds better than Pro Tools when it comes to mixing and mastering. Every pro mixer I’ve worked with when going into studios like Angel Studios and Air Edel in London has mixed with Pro Tools and always says it helps them get the best sound available.
I’m a long-term Logic user and, although I love it and would recommend it, there are can be some frustrating little bugs (even in v9) that get in the way of your workflow. My experience is that you’d find there are things that affect your system that other people don’t experience yet are tricky to troubleshoot (such as your processor glitching out when you record-enable a track) as everyone’s system set up is different. That said, the same can be true of any DAW I suppose.
If you’re using a lot of virtual instruments, combining Logic with VSL’s Vienna Ensemble makes it an incredible workhorse that sorts out a lot of the memory allocation issues etc. and is a real pleasure to work with. You’d need to set things up properly, but I can’t fault it. I’m about to dip my feet in the Ableton pool as I used to use Sony ACID and LOVED the way I could quickly put things together.
MIDI editing on Logic is great and next to none in my experience – I’ve tried various DAWs including DP which I wouldn’t recommend as their interface is appalling, plus it’s more geared towards film composers which I don’t believe is your area right? I’d be interested to compare StudioOne, Ableton and Reaper’s MIDI capabilities, but as with any DAW, it’s about learning the tricks and shortcuts, then you start to fly through things.
Let us know your experience trying out options, I’d be interested to hear how Pro Tools compares.
Ninja skills in a zoo-like way, great achievement pz – just keep the pink colour for your avatar, I think radioactive green might clash a little with your name otherwise
I worked with Garry O’Neill on this Christmas track: http://audiojungle.net/item/christmas-jing-a-ling/3536767
It was easy to do as well and as Garry is such an amazing guitar (and everything else) player, it made it quick and easy to get the parts done.
Agree that two heads are better than one, particularly as when you’ve been listening to a track for so long by yourself, you can’t really be objective about it. I’d be interested in seeing if we could put together an entire ‘live’ orchestra by getting the various talents on AJ to record different lines with one person to sync them into one project and maybe another to mix it?
In fact, with your blessing of course Jamie as I don’t want to hijack your thread, why don’t we make this (or a new) thread specifically for that purpose? I’d be happy to get things started by writing a simple track and then posting it here to get people to compose (or just record if you prefer) each line?
I think it would have to be a freebie track for publicity purposes as it would be a bit pointless trying to split the earnings between us all!
Same thing happening over here too. I can easily spend up to a month creating a track specifically with AJ in mind (as I always do when setting out to create a stock-music track), paying very close attention to structures, sound-sets, marketability, tags, et al, only to find they hardly get a sniff! I submitted a track recently that I invested an enormous amount of time working on, which some other authors very kindly dubbed as a potential top-seller. 3 sales..then nothing. I agree, it can be pretty frustrating, but I guess this is something we’ll just have to learn to get to grips with in this arena.
With tracks like that Alumo (I know the track you’re referring to and it’s excellent), I’m sure it’s just a matter of time before they get picked up and used in a project somewhere, which then leads on to more sales as people ask where it came from etc.
That said, I’m in the same boat as all of you (shifty guy at the back, funny looking beard and a wooden leg), but I put a time limit on how long I leave those tracks in my portfolio after which it’s hasta luego and off to another marketplace.
These might be of interest:
- http://audiojungle.net/item/triumphant-today/1323798 (not pop, but upbeat)
Well done to MinuettoAudio, TimofeyOstanin and Miramute on getting into the bundle, hope you get some decent sales out of it.
I think that change might have been to boost SEO more considering keywords in titles are considered more relevant by search engines than general text. I know SEO is more complicated than that, but I expect that influenced Envato’s decision. It is difficult to know how best to title your music, but I think being as specific as possible in the description ie ‘this is a soft melodic piece that would fit well in x and x situations…’ is a good approach along with a title that is as unique as possible.
That last point may seem counter-intuitive if customers search for literal descriptive titles like ‘Upbeat Ukulele’, but a title that stands out also gets attention if it still works with the track and is easier to find in search engines (both AJ’s and others like Google) later on. Also makes the marketplace a bit more interesting to look through in my opinion.
Tip #10: Make sure your melodies are sticky in the heady, you want to be catchy now don’t you?
Just seen I’ve been put in the runnings for the Video Production Bundle – good luck to everyone involved and many thanks to those who put me forward, I will put golden framed pictures of you in my studio if I get chosen!
There’s some good tracks in there, well chosen Envato:http://notes.envato.com/competitions/help-us-choose-10-files-for-the-video-production-bundle/