I'm wondering how many people on here are using reaper and making a living from using this software? Also are you a home studio use or are you in a "professional studio"? I only ask after watching this video https://www.youtube.com/watch?v=eiJ9xbBVXs4 from the recording revolution.
Funnily I've not mixed anything in so long mainly due to working shitty jobs, but when I do get the time to write music I've been using logic pro x mainly for its ease of use basically a fancy garage band but mixing in it just doesn't click with me. I've used pro tools for a number of years but Avid as company I think is dreadful I've not updated it in over 2 years i refuse to pay for a subscription. But i love Reaper and the attitude the company and how helpful this forum is.
At the studio where my band recorded our last EP, I got to talking to the engineer about DAWs. He said he has to use Pro Tools for clients because of its industry-standard reputation. He said that running a studio without Pro Tools is like being a designer without using Adobe. If you tell the client you used MS Paint, they'll think your work is worth less, regardless of the actual quality.
Presentation is important. For instance, everything at Olive Garden is made in a factory, but they go to great lengths to conceal that fact.
i use reaper in my studio & also have a good friend in the USA who does also in his studio Luxor Records yeah clients always ask so are you using Pro tools,for me it's the setup & experience of the engineer that counts <EARS>
I luv Reaper & never follow the crowd works for me
When you are dealing with pros you use whatever you want to use, when you are dealing with amateurs who's "education" consists of what the guitar magazines and MTV say, then you are judged by the type of receipts you have from guitar center rather than the sound coming out of your speakers.
Having something the amateurs are confident about can get you a lot of work, and it can keep you in business. At this point in my life I can be a lot more choosy about who I want to work with, but if you absolutely have to keep volume through the doors to stay afloat, a lot of crappy customers vs a few good ones may be an important factor
On the other hand, I have found that the crappier customers who care more about the colors on your computer screen than the sound coming out of your speakers, tend to pay a lot less and tend to hem and haw about paying in the first place
When you are dealing with pros you use whatever you want to use, when you are dealing with amateurs who's "education" consists of what the guitar magazines and MTV say, then you are judged by the type of receipts you have from guitar center rather than the sound coming out of your speakers.
Having something the amateurs are confident about can get you a lot of work, and it can keep you in business. At this point in my life I can be a lot more choosy about who I want to work with, but if you absolutely have to keep volume through the doors to stay afloat, a lot of crappy customers vs a few good ones may be an important factor
On the other hand, I have found that the crappier customers who care more about the colors on your computer screen than the sound coming out of your speakers, tend to pay a lot less and tend to hem and haw about paying in the first place
As a hobbyist I'm kind of surprised and appalled to hear that. WTF is the point of hiring a professional if you're going to tell him or her how to do the job?!
"Hey Banksy, can you do our album cover? Cool, here's a sketch I did in pencil of a flaming sword skull girl, can you start with that? Oh, since I created this I'll give you $50 for it."
On the other hand, I have found that the crappier customers who care more about the colors on your computer screen than the sound coming out of your speakers, tend to pay a lot less and tend to hem and haw about paying in the first place
True in every trade, every industry. Bottom feeders always want to pay less and they'll make you do the most revisions too Best to price yourself out of that silty, murky water - ride out the dry months until you get the clients that respect your skill and worth.
I'm wondering how many people on here are using reaper and making a living from using this software? Also are you a home studio use or are you in a "professional studio"? I only ask after watching this video https://www.youtube.com/watch?v=eiJ9xbBVXs4 from the recording revolution.
Funnily I've not mixed anything in so long mainly due to working shitty jobs, but when I do get the time to write music I've been using logic pro x mainly for its ease of use basically a fancy garage band but mixing in it just doesn't click with me. I've used pro tools for a number of years but Avid as company I think is dreadful I've not updated it in over 2 years i refuse to pay for a subscription. But i love Reaper and the attitude the company and how helpful this forum is.
I have recorded at many studios over the past 40 years, every one of them used ProTools. But its 2017 now, I know studios use Logic, Cubase and Reaper etc
I have recorded at many studios over the past 40 years, every one of them used ProTools. But its 2017 now, I know studios use Logic, Cubase and Reaper etc
I assume you meant "as well as PT".
I've always wondered why they wouldn't just sink their teeth into the pro studios and not try to please everyone.
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The future ain't what it used to be. Yogi Berra
There are two sorts of professional studios. One is the kind that rents facility time by the hour or day etc. The other is the personal work room of a producer, engineer or musician. The sort of facility that is likely to be ProTools centric is the room-for-hire type, since there is an expectation that such a room will have that DAW. They might have other ones too, but they'll all have PT. The 2nd kind of studio, more common everywhere really but certainly outside of NY, LA, London is more likely to use other DAWs in addition to PT, with PT being kept as a translation device and a lot of the real work being done on other systems. This is where Reaper shines.
You know, I have to ask, what do you all consider is a professional studio? I mean, what makes a professional studio different than any other studio?
I know this thread is almost dead, but I got to thinking about this, and I'd like to know what you all think.
My personal definition is when you should be paying taxes from doing it, whether you are paying them or not. Until then both I (and the government) consider it just a hobby. The other point there is that pro doesn't always mean good so we can't really use "sounds pro" as a proper definition.
__________________ Music is what feelings sound like.
You know, I have to ask, what do you all consider is a professional studio? I mean, what makes a professional studio different than any other studio?
I know this thread is almost dead, but I got to thinking about this, and I'd like to know what you all think.
Like Karbo said, technically speaking if it's a real business that has income and pays taxes and exists as it's own business entity, it's a professional studio. The two words "pro" and "great skill" as relates to engineering and all that have nothing at all to do with each other. Like with every other profession, it's not necessary to be great, it's only necessary to be competent.
The (not all) great studios of the past were there as tools, not to promote the owner, but to exist for rent. People often hired and brought their own engineer and music producer with them. They rented them for the great gear and the spaces, the rooms, not the owner's plugin mix tricks.
Some of these places had a wisdom to them as well. Snobs would treat the techs and janitors as peons, far beneath them and not fit to breath the same air, but if you were smart, you would walk away with so many new perspectives.
I don't think we ever directly paid them money for being them, just rented their space, but the wisdom and accumulated experience of say, the Robb Brothers at Cherokee was mind blowing. Dee would often walk into control rooms just to make sure everything was going ok, and he'd casually drop a knowledge bomb, in passing and walk to check on the next room. I remember more than a few times letting it sink in and everyone in the room was like "whoa!!!! Stop the tape!!! And we'd approach the project anew on those few words
The kind of shit Bill Metoyer would mutter in a long chain of random cuss words could have profound impact on the next album you were making
If you've never had a chance to experience the treasure of one of these places, and any are still around, go have a look, and more important, a listen. If you see a guy with a soldering iron, turn your iphone recorder on, bring him a coffee and just shoot the breeze
Professional Studios
Best to price yourself out of that silty, murky water - ride out the dry months until you get the clients that respect your skill and worth.
Hybrid Mode
