Thanks for the detailed response, @Torsten.
You wrote:
Within the DAW environment, there are essentially two key scenarios:
“virtual tape machine” - recording a studio performance by a and then producing the finished song by applying mixing and effects - mostly audio processing, although the field is getting blurry, due to the use of MIDI drums or keyboards in classic recording scenarios
“desktop production”, which is essentially building songs track by track, adding individual instruments (audio or virtual) one at a time. The broader market is certainly dominated by that scenario, with the professional market becoming a hybrid of “tape machine” and “desktop production” - depending on the genre…
These would appear to be the essential scenarios for the wider market, but they are far from the only scenarios. I think we have an essential differing of view point and experience when it comes to what happens in a recording environment. You have missed the essential common factor to both the studio and live context, and that is ‘performance’,
Does anyone dispute that the fastest, most creative route to getting a performance recorded is always the most satisfying? No one likes to waste time configuring setups that get the idea from one’s head onto the recording format, whatever that is, as quickly as possible.
To create certain keyboard setups, guitar setups, change the order of plugins and how they’re routed, be able to store that as a preset and recall it instantly, is certainly not a strong point of the most popular DAWs.
These are the selling points. Speed. Clarity. Storability and Recallability. Transportability. Cross Platform and DAW. And, the most obvious, take your sound from the studio to the stage and back again. This is a real issue for bands touring at a professional level.
I would also venture that when technology is applied in accessible ways, people who previously would not have considered battling the existing technology suddenly find they are inspired to do so.
In this, I applaud @brad for asking exactly the right question: how do you get someone who doesn’t use VST instruments live, but only a DAW to produce music, to get excited about Cantabile?
Wrong question, with respect. Everyone who uses a DAW wants quick access to performance., and the ability to collaborate …perhaps not be shackled to the desktop.
There was a time when we wondered how we would be able to use this technology live without incurring huge risks. It’s because Cantabile (or Main Stage or ‘other’) exists that your horizons expanded.
In closing, these days, I would say there is FAR more commonality between studio and stage The audience expects a production sound. That’s why you use Cantabile. They used to be two very different disciplines. I think it’s a little anachronistic to hold that view in these times. The things that make Cantabile a killer live app apply equally to the studio environment.
Re the market for VEP: this is a completely different beast. Its key capability is to spread out processing load across multiple machines.
I’m sorry Torsten, you’re off the mark. That is ONE of the abilities of VEP. The other ‘key’ capability is to keep a template locked into the RAM of a 128 GB machine so that the template does not have to be reloaded - and you do not need to have a other slave computer within a square mile. Having considered that approach for Cantabile, I’ve pretty much crossed that off my personal preferences list. VEP already does that job and a Cantabile plugin would sit very nicely within VEP if one wanted to use a network.
Re ‘learning curve’. Cantabile has a steep learning curve if you want to use it like Torsten.
If you want to throw some plugins into it, re-order, channelize, split and transpose - or apply a chain of FX that can be recalled in an instant, it’s a piece of cake. And if you’re already a live player or a DAW user, you’re already familiar with the concepts. If ‘learning curve’ were a real factor, we’d never buy another piece of technology.
In this discussion, I really want to try and be as precise as I can, while not making assumptions about how ‘everyone’ works, or what people want or don’t want - with this one exception; We want to play and produce in the most efficient possible way.
although it’s not sooo difficult to do similar things with Metaplugin
But totally undesirable. I own it, like it for what it is. It is not Cantabile and becomes a rats nest. Apples and oranges.
So, this really comes down to whether Brad’s time/money are well spent in producing a plugin version of Cantabile and bringing its delights to a wider market. One thing is for sure - where it is now is always going to be a ‘niche’.