When I look around my studio today, with its powerful computers, digital mixers, audio interfaces, and virtually unlimited recording tracks, it is hard to believe how far digital audio recording has come.
My journey into computer-based music production began in 1993 when I arrived in Switzerland. Back then, “digital audio recording” was still in its infancy, and most musicians were using computers primarily as MIDI sequencers rather than full-fledged recording systems.
The Atari ST Years
My Atari ST with Notator — still in the studio today
Like many musicians of that era, my journey started with the legendary Atari ST. Those machines loaded their operating systems from 3.5-inch floppy disks and were considered cutting-edge music workstations at the time. I worked with Cubase and Notator, developed by C-Lab — the software that would eventually evolve into Logic Audio.
Somewhere in storage, I still have my original red Cubase dongle and my Notator Alpha manuals and floppy disks. They are reminders of a time when making music on a computer required patience, technical knowledge, and a healthy amount of troubleshooting.
But despite their limitations, those early systems were revolutionary. For the first time, musicians could arrange entire songs on a computer screen.
The Early Mac and PC Experimentation
After the Atari era, I moved to a Macintosh Plus and began experimenting with Opcode Systems software. As hard-disk recording slowly became more practical, I switched back to Windows and started building my own PCs. My first machine was a humble 286, followed by a 386 and countless upgrades thereafter.
During those years, I spent a small fortune on sound cards, experimenting with whatever technology promised better recording quality. Creative Labs cards were among the early options, and every upgrade felt like a major leap forward. Building PCs became almost as much a hobby as making music.
Digital Performer, MOTU and the DA-88 Era
My TASCAM DA-88 and MOTU 2408 MkII — still part of my studio setup today
As computer hardware improved, I eventually invested in a MOTU MK1 audio interface along with the required PCI FireWire card and began using Digital Performer on Windows. At the same time, I purchased a TASCAM DA-88, an eight-track digital tape recorder that remains in my studio today.
Computers were far less reliable back then, so I often combined hard-disk recording with the DA-88. Sometimes it served as additional tracks, and sometimes it was simply a backup system in case the computer decided to crash — which happened more often than we’d like to remember. Those were exciting times. Digital recording was becoming increasingly powerful, but every session felt like an experiment.
Discovering Stability with Apple
Logic Studio — a significant investment that shaped years of creative work
Eventually I returned to the Mac platform and purchased one of the white iMacs. For the first time, I experienced a level of stability that had often eluded me on Windows systems. Everything simply worked.
Later, I upgraded to a more powerful Intel iMac and adopted Logic Audio as my primary DAW. At the time, I purchased the complete Logic Studio package for CHF 699 — a substantial investment but one that felt worthwhile. Logic became the center of my creative workflow for many years.
SAE Zürich and the Pro Tools World
Pro Tools LE — my introduction to the industry standard at SAE Zürich
While studying Audio Engineering at SAE Zürich, I purchased a white MacBook that was required for my coursework. The school primarily used Pro Tools, which exposed me to what was considered the industry standard recording platform.
I enjoyed working with Pro Tools, but at that time the software often required proprietary hardware, making it a costly ecosystem to enter. As a result, I continued to use Logic for most of my personal projects while maintaining familiarity with Pro Tools for professional compatibility.
The Hackintosh Revolution
My Hackintosh — remarkable performance at a fraction of the cost of comparable Apple hardware
One of the most significant turning points in my studio journey came when I discovered the Hackintosh community. After experiencing hardware issues with an Apple MacBook Pro — issues that Apple took nearly a year to acknowledge — I became increasingly frustrated with Apple’s closed ecosystem.
I stopped using iPhones and switched to Android. More importantly, I built my own Hackintosh. The results were remarkable. For a fraction of the cost of a comparable Mac, I was able to create a highly stable and incredibly powerful recording system. Unlike traditional Apple hardware, I could easily upgrade RAM, storage drives, graphics cards, and processors whenever needed. That flexibility transformed my studio. My Hackintosh remained the heart of my production environment for many years and, remarkably, is still operational today.
The Golden Combination
The RME Fireface 802 — one of the finest audio interfaces I have ever owned
At some point I finally saved enough money to purchase what remains one of my favorite pieces of studio equipment: an RME Fireface 802. Combined with Logic Pro and my Hackintosh, it created what was arguably the most stable, reliable, and best-sounding recording setup I have ever owned.
The RME drivers were rock solid. The Hackintosh delivered incredible performance. Logic provided an elegant workflow. For many years, this combination served me exceptionally well.
In hindsight, selling the Fireface 802 is probably one of the few studio decisions I genuinely regret. Even today, I consider it one of the finest audio interfaces I have ever owned. The reliability, driver stability, routing flexibility, and sound quality were simply exceptional.
The Cost of Software Ownership
One frustration that emerged over time was the changing software business model. I had already spent CHF 699 on Logic Studio, only to discover that newer versions introduced significant features and plugins that effectively encouraged another purchase. Eventually I upgraded to Logic Pro X, bringing my total investment in Logic to nearly CHF 950.
I experienced similar frustrations with companies such as Waves Audio and Spectrasonics. Too often, software licensing and upgrade policies seemed designed around revenue rather than creativity. As musicians, our tools should support the creative process — not restrict it.
Discovering Reaper
About six months ago, I made a serious commitment to Reaper 7. What initially attracted me was its affordability. What ultimately convinced me was its flexibility.
Reaper allows me to customize virtually every aspect of my workflow. It supports VST, AU, and numerous plugin formats without complaint. It handles large projects efficiently and makes excellent use of modern computer hardware. Most importantly, it stays out of the way and lets me focus on making music.
The learning curve can seem intimidating at first, but the online community is one of the most helpful and generous communities I have encountered in the music technology world. That spirit of collaboration feels much closer to what music should be about.
My Current Hybrid Studio Setup
The TDIF cable bridging my MOTU 2408 MkII and TASCAM DA-88 — modern and vintage technology working seamlessly together
Today, my studio combines both modern and legacy technology. My primary setup consists of:
- UAD Apollo X4
- UAD-2 Satellite DSP Accelerator
- SSL 18 Audio Interface
- Allen & Heath QU-32 Digital Mixer
- Reaper 7 as my primary DAW
One of my latest experiments involves integrating some classic digital hardware back into my workflow. I recently purchased a second-hand MOTU 2408 MKII and incorporated it into my system via ADAT, connecting it directly to the SSL 18. The MOTU, in turn, connects to my vintage TASCAM DA-88 through TDIF (TASCAM Digital Interface), effectively bridging modern and legacy digital recording technologies.
This configuration provides an enormous amount of routing flexibility and opens up creative possibilities for hybrid recording and mixing workflows. It also serves as a reminder that older equipment does not necessarily become obsolete simply because newer technology exists.
The Apple Silicon Era
When Apple introduced its M-series processors, I found myself drawn back into the Mac ecosystem. For the first time in decades, it felt as though computer technology had made a truly significant leap forward. I eventually purchased an M4 Mac Mini and an M4 MacBook Pro. The performance is extraordinary. Projects that once required careful CPU management now run effortlessly. My Hackintosh has finally been retired to backup status, although it remains ready should disaster strike.
Why Reaper Has Become My Home
A typical Reaper 7 session — lean, efficient, and always focused on the music
Ironically, despite returning to Apple hardware, I no longer rely on Logic as my primary DAW. Over the years I noticed situations where Logic’s performance and latency behavior became frustrating, particularly during recording sessions involving plugins on master buses. Reaper simply handles these situations better. It feels leaner. More efficient. More adaptable.
I still maintain a Pro Tools subscription because it remains the industry standard and ensures compatibility with clients and collaborators. I have also experimented with Studio One and UAD Luna, both of which offer impressive features. Yet every time I evaluate my workflow, I find myself returning to Reaper. Not because it is fashionable. Not because it is the most advertised. But because it allows me to focus on what matters most: making music.
AI, Creativity, and the Expanding Role of the Musician
In recent years, many musicians have developed a quiet concern about the rise of artificial intelligence in music production. Questions about originality, authorship, and the future role of the human creator are becoming increasingly common.
Yet in many ways, we have been working with forms of “artificial intelligence” for decades — just in different disguises. From algorithmic MIDI sequencing in early DAWs, to smart quantization, auto-tuning, sample-based instruments, and adaptive plugins, much of modern music production already relies on systems that assist, analyze, and enhance our creative decisions.
The real challenge is not whether AI will replace creativity, but whether we will use these tools consciously, or allow them to flatten our individuality. Tools can accelerate ideas, suggest directions, and remove technical barriers, but they cannot replace intention, taste, or emotional experience.
In that sense, every new technological wave — from the Atari ST to modern AI — has expanded the canvas rather than reduced the artist. The responsibility remains the same: to stay curious, to stay critical, and to keep the human element at the centre of the work.
Final Thoughts
After more than three decades of digital audio recording, one lesson stands out above all others: technology should serve creativity — not the other way around.
From Atari floppy disks and TASCAM tape machines to Apple Silicon and modern hybrid studios, every technological advance has promised to make music production easier. Some succeeded. Some did not. The best tools are rarely the most expensive or the most popular. They are the tools that disappear into the background and allow inspiration to flow uninterrupted.
For me, after a journey spanning more than thirty years, Reaper has become one of those tools. And somehow, that old Atari spirit of experimentation, curiosity, and creativity still lives on every time I press Record.
After all these years, I have learned that great recordings are rarely about having the newest equipment. They are about understanding your tools, building a workflow that inspires you, and removing as many obstacles as possible between an idea and the moment you press Record.