Decisions, Decisions: How to Choose a DAW
Asking the right questions is sometimes more important than just looking for answers
Reviews -- whether by industry experts, informed salespeople, or users who present their opinions in internet forums -- can be very helpful in deciding what type of gear to buy. However, you have to be realistic. Many people wish they could just log on to Harmony Central, see a comparison of several DAWs, and read a conclusion that says "Clearly, DAW (X) is the best one."
But the real world doesn't work that way. With very rare exceptions (like when a product totally commands a particular niche), reviews can't tell you whether a piece of gear is the best one for your needs, because no one program has it all.
As a result, you have to do your homework. This doesn't involve just comparing features; the most crucial element is analyzing how you work and what tasks you need to do.
Of course, some decisions will be made for you. If you've just been subcontracted to do a ton of music for a studio that does movie soundtracks and uses Pro Tools, you'd be crazy not to get Pro Tools. If you're a Mac fan, you can ignore Sonar, Acid, Wavelab, and other Windows-only software; if your axe is a PC, then you don't need to investigate Digital Performer, Logic Audio, Peak, and the like.
But some choices are much harder to make. For example, suppose you use Windows and are trying to decide between Sonar and Cubase SX. I've tested and used both, and can say without hesitation that they are both extremely capable, brilliantly engineered programs. Yet they're quite different; what might be perfect for one user could be less so for another. So, let's look at the thought processes that go on behind comparing programs, and hopefully you'll be able to apply these insights to your own situation.
Look for Deal Breakers
The first step is to narrow down your list of candidates by eliminating those programs that simply won't serve your needs.
For example, if surround is an important part of your work, or you expect it to be, you can eliminate all programs that don't offer surround capabilities. Or, suppose you used Acid for years and have a huge library of acidized WAV files, but want to move on to something with a really deep MIDI implementation. As you probably don't want to negate your investment in sample CDs, you'll want a program that can read acidized files.
Maybe you've used Propellerhead's Reason for years but wish you could do digital audio recording with it, or used Ableton's Live and want to be able to do notation (which it currently doesn't support). If the program you choose implements the ReWire protocol -- and most do, these days -- you can continue to use these programs (and the files you developed for them) with your DAW.
Other deal-breakers include hardware incompatibilities; for example, if you have a dual-processor system, you'll want a program that offers dual processor support. One deal-breaker for me is if a program's controls can't respond to external MIDI control, as I like to mix using multiple faders rather than doing everything with a mouse.
Another deal-breaker relates to your hardware. For example, Cubase works only with ASIO drivers. Chances are your audio interface supports ASIO, but if it doesn't, then trying to run Cubase will be an exercise in futility.
Look for Deal Makers
Some people buy a program for one particular, essential feature. The classic example is Acid 1.0: although it lacked MIDI, had limited digital audio capabilities, and didn't support plug-ins, for those working with loop-based music it was the only game in town. I've known people who bought Sonar because of the included Cyclone virtual instrument (there's no plug-in equivalent), and some who went for Logic because of how well it integrates with their EXS24 sampler. And when the VST plug-in format first appeared in Cubase VST, many flocked to that program because it could run everything inside the computer.
How will your Business Expand?
Where is your business headed? If you think audio-for-video might be part of the picture, make sure your DAW supports a video window. But be aware that video implementations vary greatly from one program to another. You want to be able to import as many video formats as possible, and hopefully, have it scrub along when you scrub audio. This is a situation where trial versions can be very helpful: load some video, and see how smoothly it operates. Do screen redraws slow to a crawl? Does the program tend to crash more? Can you easily resize the window?
Music magazine and online reviews tend to give short shrift to video capabilities, so this is something you'll need to research on your own.
Look and Feel
Beauty is indeed in the eye of the beholder. You'll be spending a lot of time with your DAW; if you feel a program is downright ugly, all the features in the world won't make it prettier.
There are two main components to evaluating look and feel:
Aesthetics and functionality. You want the program to inspire you, but functionality also matters. If there's intelligent use of color, you'll be able to stay in a more "right brain" creative mode. For example, consider a program where the pan function is a numeric value, compared to one where a pan fader changes color based on position. With the latter, you can glance at the screen and get a quick read on the general panning situation. With the numeric version, you need to look much more closely at the numbers, and mentally compare which channels are panned more to the left or right.
Customization. Can you adapt the screen to your liking? For example, some engineers are most comfortable with a DAW mixer that looks like the hardware equivalent, with virtual faders and knobs. Others prefer a more compact setup that has nothing to do with hardware emulation. A good program will not force you into a particular way of working, but give you choices.
Budgetary Issues
Of course, budget always enters into any purchasing decision. But one that may greatly influence your decision is the roster of included signal processor and virtual instrument plug-ins. Which is a better deal -- a program that costs $800 but includes all the plug-ins you need, or a program that costs $300 but requires spending $700 on plug-ins to get crucial processors and instruments?
But remember that included plug-ins may not represent value if you don't like their sound. Reverb in particular is hard to get right, so make sure any plug-ins are indeed assets.
The Final Cut
After narrowing down your search, download trial programs of the contenders. Check which one makes the best initial impression, because often, that's the one that will work best for you. But be fair: Work with a program for a week. Sometimes features that are initially confusing fall into place, or ones that didn't seem all that important grow on you.
When you do make your final choice, take consolation in the fact that these days, it's hard to go too wrong. DAW programs are sophisticated and constantly being updated; furthermore, compatibility with different plug-in protocols allows just about any DAW to be accessorized to your liking. Truthfully, you can make music with any DAW -- but some will suit you better than others, and only you can decide which one fills that role.
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