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Despite all the freaking out about Pro Tools...


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I think once you've locked in a customer base, as long as you avoid alienating them, you're set.

Digidesign courted engineers from day one. While everyone else was focussed on sequencing, they were focussed on audio. That made the sequencing market hard to dominate and the audio market much easier to win. Additionally, the two window interface on which Pro Tools has always been based is very easy to come to terms with; and while like all other DAWs Pro Tools has grown ever more complex over time, it's still simple enough to get started quickly.

Avid has managed to cultivate and maintain relationships in the high-end studio environment, giving the company feedback on what's most important to professionals. So while they may not always be the first to market with the latest features, they are the company that has built a solid reputation for power and reliability. If you're going to track an orchestra, your computer had better be able to record a lot of tracks at once and not die in the middle of a session. Pro Tools has become a trusted system within that environment.

There's a lot of cool things you can do with other programs that can't be done as quickly or as well with Pro Tools

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Anderton wrote:

 

 

It's still pretty much at the top of the heap of music software. Would anyone like to offer theories as to why?

 

Because it got there and needs to stay there, at least the heap that make a lot of money using it.

I suspect that if you were to look at a different heap, you'd find that Pro Tools isn't the one to have. This heap, at least initially, doesn't make a choice of DAWs, but rather, uses what was bundled with the hardware they buy. That leans toward entry levels of Cubase and Sonar, except for the cheapskate companies who bundle their hardware with a link to Audacity. . . . or Avid, who bundles Pro Tools with their hardware.

 

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