Wow...a lot of print here since I last posted.
Fletcher, IMHO, those were low blows leveled at Chris and his work, but I'm not going to engage myself in what I feel is a rather unprofessional attack which is off topic anyway. We're not even discussing Chris' "sound" here. My reason for bringing Chris into the discussion was not to use him or his work to validate the sound of Pro Tools, but rather to respond to your earlier statement that "many, many people" in L.A. were using Radar, and simply to say that, as arguably the busiest guy in the business, Chris is not working on any appreciable ( far, far less than 1%) amount of stuff originally done on Radar.
Mixerman, your point about there being scope outside of our own vision is totally valid. However, I think Randy Nicklaus said it best above, when he stated, "I still believe when someone does the volume of business from so many varied projects, they would have a huge chance to see a cross section of formats. It's a pretty wide scope." To elaborate, in most cases, we do end up knowing what formats were used along the way. This info comes to us either from dialog with the producer, notes on the track sheet, discussions with the engineer, etc etc. It is true that we ask that all files come in on PT, but there is typically a lot of dialog along the way to get the files into their proper format, if they're not already. So, I don't think that there's a lot going on that we're not seeing. And again, to be fair, Chris is probably as busy as any other single engineer out there. Between what I see on his projects and what I see when I work out at other studios or talk with other studio owners, etc., I just don't see any Radar work going on in the city. Doesn't mean it's not, just means I'm not seeing any, and with all the projects coming and going through here, you'd think I'd be seeing some.