A very interesting topic. This dilemma still remains for me.
You can still compose by notation in a DAW. But I strongly suspect that performance… would not be what you envision. Even when composing on a sheet of paper, no matter the accuracy of instructions, there is always a room for interpretation, and different performances. Valentina Igoshina and Artur Rubinstein play the same waltzes of Chopin, from the same sheets even, but they are very different performances. That’s lovely and magical. Personally, I find this thought, that a musical idea resides on a piece of paper (or a digital file) as “instructions” and then it’s up to the performer to bring it to the world as sound, liberating.
On the other hand, when using a DAW, one has to immediately decide on a performance. What was a “poco rubato e leggero” on paper (and a very specific expectation of sound in my head) needs to be input as hard facts, data against a timeline. Now, there’s the option of a performer playing from the sheet of paper. Then it’s just a matter of setting up a microphone and pressing the record button (sort of). But what if the performer does not share the exact vision of my “poco rubato e leggero”? There are many possibilities then.
For one, I could try to communicate my expectation of the performance to the performer. Another one is that the performer could perform in such a way that sways my own expectation of performance! Many possibilities! The common thing here is communication. Interaction between humans.
But if I sit down with a sample library, a DAW, and myself, things change. I must caputre the performance myself. Trivialities that a performer could take for granted (e.g. bowings, bow position, string choice) are all parameters that have to be decided on by me FOR EACH SINGLE NOTE. And while in the previous example interaction and communication was the word, here it is programming, and dictation. There is no interaction with a computer, just execution of my own commands, and a feedback loop of trial and error.
The two worlds are quite far apart for me, this quantum world of zooming in to paint the dynamics of each attack or purposefully placing each event early or late to create momentum and the galactic world of writing down “ben misurato” and having another person immediately understand what it’s about. I don’t even want to go into full score orchestration and how distracting it becomes to orchestrate directly into a DAW.
When I compose a sketch directly in Cubase, I know that what comes out of the speakers is not what I envision. Not by a long shot. The thought that by spending many hours moving faders, painting CCs, layering samples and performing many other tasks I could come closer to what I envision is simply frustrating to me. I can’t bring myself to accept the fact that I have to direct an orchestra of perfectly sounding imbeciles (I’m not talking about the stellar musicians that recorded the samples of course!) that I have to teach how to phrase even the simplest of musical phrases! It’s like a mild insult I’ve heard at times: “You give him/her a whole note and he/she doesn’t know what to do with it.”
That was big, and it was a rant. I’m so sorry, but this topic always touches me.