Get It In Writing

As John Porter succinctly observes, the best sounding digital audio equipment has no sound. “The ideal with digital gear is that the output, if untreated, should sound identical to the input,” states the veteran British producer, who has presided over decades of legendary recordings by the likes of Roxy Music, B. B. King, Bonnie Raitt, Los Lonely Boys, School of Fish, Keb Mo’ and countless others. “In the analog world that was never the case – we wanted a certain piece of gear specifically for its sound and its color. Now that we’ve gone digital, people don’t always understand that good digital sound has no sound. The best measure of digital equipment is its ability to give you back exactly what you put in, without any distortion or change in personality. Some people find that difficult to accept, but I love it – it really is starting with a truly blank canvas.”

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Chris Vrenna is no stranger to the digital domain. The Grammy-winning producer, engineer, remixer, songwriter and programmer has a long history of working with technology. Between his work with Nine Inch Nails and Marylin Manson, remixes for David Bowie, U2 and Smashing Pumpkins, and composing for a wide range of video games, Vrenna spends most of his waking hours working in Pro Tools.

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Brian Tyler is one musician who simply won’t be pigeon-holed. His musical history includes stints in numerous orchestras, choirs and ensembles, as well as in rock bands with the likes of Elton John and Slash. As a first-call film composer, he’s equally comfortable writing for an orchestra or a hip hop score, and Pro Tools 8 is the only software versatile enough to keep up.

“People ask me what my main instrument is, and at first I think of piano or guitar,” he says, “but really, for the past twelve years, Pro Tools has been my main axe.”