Not really “all” (absolutism too much?), just look at the videos online of all those composers running Cubase on PCs…
I’m talking about the studio and indie sound post-production houses and sound designers. Also SFX houses…
To be fair about this:
Macs have a very powerful chipset with their M series under the hood. When/if the new Mac Pros come out with those chips, they will definitely be studio power rigs. However, a lot of them will be very expensive, and a maxed out configuration will be rather unaffordable for people like us who seek advice on online forums. (That is just statistics, studios who can afford a multi-computer maxed out rig are not on forums like this asking what to buy…)
The less expensive Macs will have the problem of limited upgrade paths. Not a whole lot of components will be able to be swapped. In the meantime, we have here a laptop from vendors like Tuxedo that runs desktop CPUs, can be extended to 128GB RAM and has FOUR M2 slots for a total of up to 32TB super fast storage. You will not find a Macbook out there that can do that. Sure, it takes two power supply bricks, but not bad for frequently moving production environments, and hey, it has a built-in screen already!
Unless you are tied to logic, a Windows machine is just fine, and more affordable.
To top all that, every time Apple upgrades its OS, software vendors and hardware manufacturers are in a race to keep up, leaving rigs broken for a few months, or people waiting those months before upgrading the OS.
I know there are fanboys out there saying that “if it cannot be done on a Mac, it does not need to be done in music/life…” and that “Macs never crash”. OK, all it took was running Studio One with a MOTU interface on a MacBook Pro after one of those elements getting an upgrade to make it crash repeatedly multiple times. At least Windows gives you the blue screen of death, the Mac just restarted with a black screen, the NERVE!
I am just thinking of all the music software we have here running on PCs, some of them the same version since Windows 7.
So again, there is not ONE system to rule them all in music production anymore. You look at your use case, your budget and variables, and decide based on that. A PC will be easier to upgrade and less money lost if you want to switch later.
What Apple has going for it are two things, in my opinion:
-M series laptops, very powerful, long battery life, low noise.
-iOS products offering cheap but very powerful and creative music production apps.
With more and more software being cross-platform and with most interfaces being compatible with both major platforms, you should not feel any anxiety about being locked in.
“The PC kids are awright, people!”
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I got a good deal on a Mac Studio M1 fully loaded at Vintage Kings. As this is a once and forever buy for me I am paying it off with a low interest CC.
I have not left my PC friends just I felt this was the best way to go this time. Follow the crowd, Please forgive me…
Hi guys.
I was wondering if this pair would work for a 7.1.4 setup (so 16 outputs) . It seems to me that yes, at a good price.
RME DIGIFACE USB
Ferrofish Pulse 16
I think the world of RME products. IMHO They use the best converter chip sets.
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Seriously, I don’t think so. They say they’re the most stable, but I used to be in RME (PCIe, then UFX), and I’m now in Prismsound (an Atlas) and I like it much better. But I only have 8 analog outputs, so that covers 7.1. I connect in ADAT to a Focusrite Clarret 2 Pre for the 4 ceiling speakers. Until I find a global solution, because 2 Atlas would ruin me. It’s too expensive.
I used to do 192k field recordings of gunshots, 172 dB ones and recording with 8 or more instrumentation mics.
The rig started with a Lynx Aurora with MADI and i had tones of problems. First the Aurora didn’t like being thrown from an airplane and the chassis had to be replaced. Then I found a converter issue at 192 k. As a backup I bought a little RME. It fit in my hand carry and is perfect at 192k.
I now have the Aurora in my wall as the front end of my 9.1.4 system. It is at 48k but has heat issues and I had to put a fan on it.
I just ordered a Aurora (n) 16. I have to laugh as they make a point of how the chassis is beefed up for road work and the new chip set (same as RME) - Hope they solved the heat issues too…
Surprising. I’ve never used a Lynx Aurora, but I wouldn’t accept the heat in my studio. My Focal SoloBe’s are already doing the heat…
What I know about professionals on the road is that RME never gives up on them. That means we don’t abandon the customer! That’s a great advantage. But I only work in my personal studio, I don’t have those challenges.
p.s. By the way, I think the new Lynx Aurora models are visually horrible.
LOL it goes in a rack never to be seen. I live in a desert and have to deal with heat. Even with a/c.
The original Lynx was chosen because i need 16 channels and Madi and gain on each channel. I don’t use the Maddi anymore but the gain trim is handy as the source are -10.
I looked at everything and it looked like the best choice. We’ll see.
I’m still conflicted where to put the mac in relation to the converter - putting it next to the converter as I would like to run 96k seems like the best option. I will bite running long HDMI cables and hopefully the Bluetooth will reach.
Glad to meet everyone here. I am very excited about working with Nuendo (hate PT) and playing with 9.1.4…s
For the 9.1.4, do you have a monitor controller or do you adjust with the gains on the Lynx ? I’m thinking of trying to do it with my Prismsound interface. Monitor controllers 7.1.4 or higher are overpriced.
As a pioneer in Dolby for film I use a fixed monitor level, 85 dBC from pink noise at -20 dBFS measured on a radio shack SPL meter lol. If I want it louder or softer i use a master fader on PT, soon to be on N12…s
All is on my Mackie MCU on a coffee table lol - it was wife approved
I should add i have a pair of Emotiva preamp/processors, which sound great! Cirus chipset. The system started as 7.1 and grew to 9.1.4!
Every speaker is 1/3 octave eq’d - you can say it, I’m mental lol
Okay, that helps me. I’ll do this: a fixed monitor level, 85 dBC from pink noise at -20 dBFS measured on a radio shack SPL meter. Thanks.
We are two.
If you tune use a modified Dolby B-Curve.
Please never flat. If I can help in any way please ask…s
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Are you mixing for music, film or both…s
B’ meaning ‘B-chain’ not noise reduction 
My bad…s
Here is the latest from Dolby - same as it was for Star Wars lol
Dolby Atmos mix rooms should be capable of reproducing 85 dBC from each speaker at the mix position. Calibrating your room to 85dB C means, sending a -20dBFS pink noise signal to a single speaker and adjust the loudspeaker levels (and if required frequency response) until the speaker produces 85dB SPL when measured with an SPL meter, C-weighted, slow, measured at mix position. Repeat this process for all full-range speakers.
More information about this can also be found in the Dolby Atmos Music Studio Best Practices document and Dolby Atmos Home Entertainment Studio Technical Guidelines .
Once your studio is aligned to a certain level, you need to familiarize yourself with the loudness targets you have to meet for the delivery of your mix, (i.e. -18LKFS integrated for mixing Dolby Atmos Music and -24 or -27LKFS integrated for audio post work depending on the streaming service delivery specifications). You should monitor your mix at a level that allows you to mix comfortably while meeting these loudness targets.
Here is a good link:
file:///C:/Users/TEM12-021087305153/Downloads/Dolby%20Atmos%20Music%20Studio%20Best%20Practices.pdf
What’s good about it? 
(the link is local to your machine)