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Yea, but on the flip side, having to consolidate each track individually in Logic for export to another DAW is a pain; much easier in PT to select all tracks and consolidate in one fell swoop.

Marc Goodman clued me in to the similarity between Serge's "Melody" and Beck's "Paper Tiger."

http://www.youtube.com/watch?v=Rwk1MX9wbag

http://www.youtube.com/watch?v=2VoJMUpzAyI

Oh, I've totally had the same experiences with audio as Nick---all sorts of wonky behavior with the waveform graphics and their relation to the actual audio; so on that point, I agree with the assertion that PT is the better interface.

At least as good as Logic. No way, Jose. That's nonsense. It's true that there have certainly been improvements in PT's midi capabilities, but that doesn't mean Avid should be applauded for implementing basic midi functions that have been available for years now in other platforms. Logic's transfor...

It's true that Logic's handling of audio leaves a lot to be desired. But for bundled instruments and ESPECIALLY the midi editing capabilities, there's nothing else that compares. Editing audio in Logic is a joke, but so is editing midi in PT.

So I downloaded the demo, played around a bit. Tough to really gauge it's usefulness, because the demo actually only comes with one kick and one snare (and nothing else). But it does seem like a powerful tool. If I were to buy this, and make my own kits, can I also include room mics and OHs? Or is t...

Thanks to both of you. Actually found out after the fact that they offer a full-feature 14-day trial, so I'm downloading that right now.

FWIW, I find the humanize function in Logic to be excellent, provided you use it delicately. But that won't apply here, 'coz it only works for midi.

Am looking into getting the platinum edition for work on a current project. I read GH's review in Tape Op, have looked on the Drumagog web site, still can't find a clear answer to my question: If I have a looped sample---that is, I'm working with tracks where the writer used some basic Ableton sampl...

Well, it sounds like their CDs come royalty-free, meaning that if a production house buys a CD and likes your song for their TV show, they're able to use the song without adding it to their cue sheet (which they would then submit to the PROs, which would bring you royalties). You need a little more ...

20% of all synch revenue and mechanical revenue, 50% of all direct performance revenue, and 100% of the composers share from your performing rights organization. Not sure who's getting these percentages---you or the production house. At any rate, it looks like a co-pub deal in which person X would ...

And just to bring it back to the OP: CD's have their time and place, but it's more complicated than that. For whatever reason, a lot of the music supervisors on film & tv projects still like to work with CDs; local venues, less so. The point is, there's a rhyme and a reason to when you budget for ei...

It's funny, I don't really think that luck has much to do with it at all; it's more a question of practicality. Is your music good? Is your singer able to write lyrics and perform in a way that connects with the listener? Can you sustain a steady recording/touring schedule for at least a decade whil...

Literally almost every single band you've heard of in print or online press is paying another company to promote them and get them that kind of press. Yes. For a great, easy-to-digest yet very thorough primer on promo and distro stuff, you should pick up Mike King's "Music: Press, Promotion, Distri...

Look up Monica Tannian and Milk Money Consulting; that should be a great starting point.

I think it's in a pretty obvious downturn. A lot of the hiphop guys have moved on to NY or LA, and those that are still there have been there a while, and probably have a dependable team. Ben Allen (I interviewed him for TO a while back) is there, and I think he just moved Maze to a new location; he...