MOTUnation.com

Piggybacking on James remarks, I find it ridiculous that people would buy DP6 and not even try it, particularly because one can install DP6 without risking an already working system. The solution is simple, and if you don't already know what it is (despite my repeated harping on the subject) here you go: CLONE your system drive to another partition or drive and install DP6 over the clone, retaining your existing system as a fallback if the new version does not work. You, too, can try a new version of DP (or any software) AT NO RISK.

IMO, If you are a professional working with any DAW, you simply cannot risk an upgrade without backing up your current system first. Back up, and move forward! Live long and prosper while you're at it!

beautypill wrote: I am in my mid-30's ...

So YOU'RE the one who's been on my lawn! Bastardi!

kgdrum wrote:

waxman wrote:There seem to be two groups of complainers in this thread. One is the $195 upgrade. If you are one of that group and has ever bought a $4 buck cup of Starbucks instead of .99 cents from the local stop & go joint then...

except most people don't know a refill from Starbucks is 50 cents not $4.00

And 2 hours of free wireless everyday!

Forgive me for any offence...

my humor career is over...

I'm out...

Sadly, I can't even swing the upgrade price at this particular point in time, otherwise I would be all over 7. I'll be more than happy to be able to quit griping about 6.02/10.5.8, as I have high hopes for the stability of SL+DP7. I also don't care about the guitar plug-ins, having Guitar Rig, but the automation changes, inline eq/dyn and channel strip make it well worth the upgrade, in my opinion.

I saw no mention of automatic backups, but I can still hold out hope.

So, I just ordered SL and DP7...and yes, I am a little disappointed by not getting a little pricing break for being one of the DP6 casualties. But, even with extra hours I spent recovering projects from crashes, I couldn't give up the DP6 features and go back to DP5.

The ProVerb alone changed everything I did on my projects (lots of old rack hardware sitting around collecting dust now).

I am an old-timer (yes, I am fluent in razor blades and splicing blocks), and have been using Performer since v.1. On my last project, I sat back several times...in complete awe...of the tools we have at our finger tips. I live in Pitch Correction tool (thus all the DP6 crashing) and still shake my head as I vocalist's stellar performances no longer require perfect intonation...this tool alone (and the way MOTU implemented it) is nothing short of miraculous.

I could go on and on, but it would continue to sound like a paid commercial. So, ya, count me in as one who will pay for the upgrades, if for no other reason than to keep MOTU breathing...and because a new DP version always feels like C'mas morning to me! I really needed some cabinet emulation for my direct-recorded Bass tracks on the last project, but couldn't decide which to buy (or justify the investment)...sweet!

Randy Thorderson
http://www.randythorderson.com

waxman wrote:If you're mad after reading this... jackpot...

ROTFLMAO


Shooshie

.

If I offended someone before...

I didn't mean to sound pretentious or like an arse with my past comments about "dining with some chick". I just stated my opinion, just as you have.

However, I stand FIRMLY by my comments. I am just too tired seeing how this happens every time one needs to invest on their art and/or business tools.

Just like some people over at VSL... they want to get the best orchestral library there is for MUCH less than what it costs. They all think they are entitled to be able to buy it, but they can't, so they complain. They want to tell the VSL people how much THEY think it's worth it
Sorry, but things just don't work that way. Things cost what they cost. There are nice things for all pocket sizes. There's a lot to choose from. WHY do people want the best for the least?

I am AMAZED people don't want to pay $200 bucks for an app that allows us to do what DP does.
Before you want to twist my neck, THINK ABOUT IT! Think about what a wonderful piece of engineering and programming you have (can have). Think of what it took, in terms of BRAINS, time, investment, vision, stamina, to have it in its present state.

I dare you telling me what you could have done with those $200 some 15 years ago in terms of doing a music project. You could have bought what, 10 minutes of time at a decent local recording studio?
NOW, you have all you need inside a machine that you are able to place on your lap and make wonderful things with it. With those $200 you can make a COMPLETE MUSICAL PRODUCTION, you can make whatever music you dream of, out of your studio (or bedroom)... heck even while flying on a plane, for Juan's sake.

Isn't that amazing? Isn't that truly a wonder?

Is $200 not a fair price for that? Is it that much to ask for all the things you can do with it?

I would gladly pay five times more for this software, if that was the case. Why? Because of the things I can do with it, because it's an investment, because its returns exceed BY FAR the small investment, because a bunch of VERY SMART people deserve to be paid, and paid handsomely for their talent and programming chops. Because it's a fair and realistic price. Because that's what MOTU thinks they should charge.
BECAUSE WE MUST SUPPORT FURTHER DEVELOPMENT. Because we must REWARD good things in life!!!

And I'm sorry if I offended someone with my "date with a chick" comment. We also have $1 taco stands here, if that's a preference.

But I wouldn't take HCMarkus, Zed or Bongo-X to those stands. I couldn't do that to you guys
OF COURSE I would take you to the best place!

Jerome Gilmer wrote:I don't chime in here very often, but I will say that I have made a pretty good living using Performer, then Digital Performer since 1986. I am so grateful that I didn't place my bets on one of the DAW companies that died along the way. If many of you had been around long enough to know how primitive this kind of software was in the beginning, and could compare that with how incredibly f*&^ing fantastic it is today, you'd be on your knees thanking the gods that we don't have to jump through all the hoops we used to to make a good music recording. The power this thing has put in your hands is just sick, and the cost of an upgrade is less than I used to pay for a roll of two-inch. Any day MOTU announces a significant upgrade, my money's on the table.

Sure, we go through some growing pains with it. But with so many vendors involved in the system, it's incredible that it all works so well. I've had frustrating moments, and some have those have been in front of clients, but that happened when the whole studio was hardware, too.

And the leadsheet thing: Priceless to me and all the others who have to work with musicians who read charts (there really are a lot of us still around). I still don't know any faster way to get musicians to do what you want than putting an accurate chart in front of them, especially if you're dealing with anything more than a guitar band or an electronica thing.

My hat's off to MOTU for 23 years of innovation that has made my life a lot more fun, interesting and profitable.

You and me both, man! It's so good to hear from others who have lived through the same thing and who know what this means.

In about the year 2000 or 2001, my client took our tracks to a large studio with a million dollar board -- like many other large studios with million dollar boards we'd been in over the years -- and attempted to mix a song from our current album of the time. After three days they had made progress, but had to stop, since they were burning through cash. The engineer -- a friend of mine -- dropped off a copy of their mix for me on his way home. I immediately went to DP and started reproducing their mix "in the box." By the time my clients had arrived, four hours later, I had not only copied what they did, but I made it better, and I finished it. I left a CD of each mix (theirs from the big studio and mine from DP) on the desk in the office. They listened to both. When I saw them again, they were still reeling with the impact of it. They said never again would they go to a big studio when I could top the results in DP. They told me they just didn't understand what I could do with DP, and they assumed that because the studio was huge, and because it had so much expensive equipment literally into the millions of dollars, that it HAD to be able to do more than DP. They were wrong, and they could clearly hear that they were wrong.

Even now it's hard for new users to understand the power of what is on their hard drive in DP. (any version) They cannot believe that the million-dollar studios of the 1990s have no real advantage over tiny little DP in their computer, other than the big wooden room in which they record. There are room modelers that even make that rather iffy. If you can find a place to record where the early reflections aren't brutal, you can use Altiverb to simulate a better room than 99% of all recording studios, who most likely are using Altiverb for the same reason.

People born after 1984 (the year the Mac debuted) may have trouble understanding that there used to exist a thriving print industry in which print shops existed that didn't resemble Kinko's in any way. They had big machines, some of which looked like they were made in the 1890s, and barrels of ink, and you walked into those places and they smelled of ink. I LOVED those shops, and often had things printed just to hear, feel, and smell the atmosphere. (well, I needed things printed, too)

After the Mac, Adobe fonts, Adobe Postscript, and Altus Pagemaker (later Adobe), along with the Laserwriter, anyone could be a print shop. Those places went out of business, nearly every one of them. Those who survived took on a business model like Kinkos.

The advent of the Native DAW is very much like that. Even Pro-Tools is a dinosaur now. It may be a very popular dinosaur, but it just doesn't make any sense to spend $25,000 for barely the capabilities of DP.

I won't make this any longer, but there's a whole lotta perspective and context that seems to be missing among a lot of people who are griping about DP7 before even seeing it.

Shooshie

I used to edit a radio show with half track 1/4" tape on a splicing block with a razor blade...I tried to fit big arrangements on 16 tracks of two-inch tape...although I love that warm, fat analog sound, I can't imagine going back to those long, tedious days now that DP is on my desktop. I certainly couldn't afford the tape costs these days anyway -- I could easily spend well over $200 a week on tape, and in 1980s dollars at that!

By the way, am I the only one who pays for my DP upgrades with spare change? The moment that I get an upgrade to DP, I start replenishing my DP fund. I throw a few dollars in there every week. When upgrade time rolls around again, the DP fund is brimming with plenty of cash to pay for it, and usually for other upgrades, too. I usually do not even feel an upgrade at my pocketbook, as I've literally paid for it in spare change. So, I order DP, then I go deposit that cash in the bank to replace what I spent on it. Actually, every time the cash reaches 3 digits I deposit it, so as not to have a lot of cash around the house. I keep a special checking account for studio funds, and I put at least 10% to 25% of my paychecks in that account, along with my spare change deposits. When down-times come, as they have always done for anywhere from a few weeks to many months, I am able to keep my studio operating from that account, paying for the inevitable hard-drives I need, new VI's (like Wallander and VSL), or plugins, or upgrades.

The only fees I resent are those from Waves, where I have to pay them full price for WUP, just to authorize my plugins on a different machine. Where other software companies give you installers and authorizers that you can use over and over, basically for free, Waves charges several hundred dollars for it every time you need it. There is no added value, simply the extortion of knowing that if you refuse to pay the ransom, then your $3500+ investment goes dormant. So, I go as long as I can without paying Waves a cent. But at least when I have to, the money is there from building up my studio fund all the time.

That reminds me. I've got a penny jar that is spilling over the top. Time to take it to the bank and get it back in circulation. That ought to bring me a good $25 toward DP8.

jloeb wrote:But Splinter, are you even willing to try DP 6.02 with Snow Leopard?

Ain't gonna happen. The studio has a G5. Next time I can drop $3700 I'll get me a new fangled 8-core.

Shooshie wrote:... I have to pay them full price for WUP, just to authorize my plugins on a different machine. Where other software companies give you installers and authorizers that you can use over and over, basically for free, Waves charges several hundred dollars for it every time you need it.

Shooshie,

Why on earth do you not have your Waves plugs authorized on an iLok? This will save you tons of money and headache. I haven't WUPed my Platinum bundle since October 2007.

For the record.

I immediately bought 6 and ran it. My objections are well noted around the GUI, not the features or later improvements that made it nice. We all have ways we work and I'm not bashing MOTU except to say a bit of a rollback for 6 users is in order in these hard times.

I have not actually made money with 5 or 6 in a few years but I plan some projects that will pay well now that several client/artists have found me in Wisconsin.

Also, I'm one of the oldest around here on this great board, (age wise). I would appreciate understanding and apologize for not understanding the intent of Waxmans comments. I actually have no gripes about anyone here or their opinions and believe in free speech and free shoosh for that matter. Anyway, so sorry for the ruckus.

Will I buy 7? Most likely. When IS the operative question? I won't rush out like I did before based on the first GUI moves in 6, not the physical workings on my machines.

BTW for the 6 doubters, I now operate both 5 & 6 DAW on the latest 8 core 2.93GHZ 16gb ram and Shooshie is right, they seem to run nicely.

One other comment for the wax man. Nuendo 3 ran perfectly for me up to the OS changes. Never owned cuebase.

Peace!

I'm In! (And have been since '86!) Keep it up MOTU! <Grin>

If this runs as flawlessly as 6.02 does I will be thrilled!