I'm sorry, but I'm not blaming anything on Pro-Tools, it's the people 
using it with no imagination, a different point. When a producer stops 
using his/her brain and lets Pro-Tools take over their sound, then we get 
the situation we have now, with lots of boring tracks - but this is so 
obvious to be almost trivial. When a cool producer makes an amazing track, 
which is loud and well-produced, then f*ckin A.

Hope I've cleared that up,
Regards,
Andrew




On the subject of production and mastering I can see what
Adrew is trying to say with the way today's techno and
tech-house sounds but that has more to do with the
production aspect of today's music, the types of effects and
sounds people are using in tracks, you really cant blame it on
ProTools which has been an industry standard for the past
two decades.
For example there are certain 313 labels that have released
classic compilations, these compilations would have sounded
better in my opinion if they digitally re-mastered the tracks
using software like ProTools.
Listen to the way an album on R&S sounds, it sounds good
on both vinyl and CD, whether an artist like Carl Craig is
going for a 'raw' or 'dry'  production sound like with 69 or a
clean production.
Also there have been classic Detroit techno tracks released
on European labels such as Network that just sound better in
my opinion because they do a better job mastering the
tracks.

I've passed certain '313-List' labels (which will stay
anonymous) that are going for the 'dry' production sound
because the mastering is a little too harsh and abrasive even
though the music content was good.


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