Let me be clear that I was no Fan Boy when this all started. I own a PPC iMac G5, which I begrudgingly bought in 2005 when my bandmates and I opened up a recording studio in downtown Manhattan. We did that because all the Fan-Boy-music-makers out there were too label conscious and looked for meaningless brands when determining how they spent their hard-earned, or easily-inherited, funds. Although not a pro-grade powerhouse for the work we were doing, the iMac held it's own and helped us get through 2+ years of recording and running the studio. I fell in love with it over time, and when we dissolved the business in 2007, I took it with me to set up my home studio. For another 3 years, it served me well, running Pro Tools, powering an original MBox and Digi002R, a USB keyboard, and two firewire hard drives.
In 2010, a lot of the software I needed to keep up with recording was dedicated to Intel-based iMacs. In fact, it was pretty obvious that most stuff was geared toward Intel-based Macs. Although I wanted to upgrade, I held off to save money and to see how the iMac would change. By the end of 2011, I had hit the wall of productivity and really needed to upgrade. If you're not familiar with the iMac story, Apple still hadn't released a refresh to the iMac in over a year at that point in time, and it seemed safe to assume WWDC would change all that. It didn't and the new MacBook Pro's were the only Macs with the newest duds, including the new Retina MacBook Pro.
I really wanted a new iMac for an updated processor and bigger screen since my old 17" iMac was constrained for effective workflow in both size and processor. My wife poo-poo'ed the idea of 27" iMac -- it was too garishly big for our office. So after buying the new iPad in March, I figured I could get a 21" iMac and use the iPad for additional screen real estate. Plus, I figured, I could use the iPad for remote recording with Garageband and then convert draft tracks over to ProTools. So I held on to the end of July, when it was next rumored that a new iMac would be released. Again nothing.
I then started looking at the 2011 MacBook Pros, especially the discontinued 17" They looked really promising, and I loved the idea of having the same size screen of my current iMac with the portability of a laptop for any remote recording. But the 17" was too big and too heavy. Also, I felt like USB 3.0 on the 2012 models would be really helpful for any future external hard disk storage and recording. I had saved up for over 3 years for this purchase; did I really want to cut corners now?
The idea of recording on the road really intrigued me. The fact that I could take my studio with me filled my head with possibility. So when I saw a new MacBook Pro 15.4" with Hi-Res, Anti-Glare screen, 16 GB RAM, and 750 GB 7200 RPM HD, I nabbed it. It is definitely too heavy for everyday portability, but I can't tell you how utterly psyched I am to use it. I had an old 17" monitor in storage at home that I've connected to the MBP for a delightful amount of screen real estate. Even though I've had it for just over a month, I've cranked out more musical ideas and productions than I could ever do with my old iMac in the same amount of time. I can't believe how many hiccups and disconnects I endured. This laptop just screams and it can handle everything I throw at it without a blip on CPU usage. Moreover, this is the first time I didn't go with last year's model to save a few bucks. I'm sure Apple's planned obsolescence will make that choice seem silly in a few years, but for now, I'm reveling in it.
I just took it, a Focusrite Scarlett 2i2, Neumann TLM 193, external hard drive, new 64 GB iPad, 7 port USB hub, and all necessary cables and power cords in one, single backpack with me on a 9 day excursion out-of-town. Within 30 minutes, I had my set-up operational and ready-to-record with a capacity (<1 TB) and quality (96 KHz, 24 bit) that I could only fantasize about in 2005. Moreover, I could never do that with an iMac no matter what the spec. The experience was just mind-boggling and utterly thrilling. I worked on 5 songs during that trip. If I had an iMac, I would have worked on none, or maybe finagled a way to do something with my iPad with a laborious process for getting it into Pro Tool on the iMac.
So the morale of the story is pretty simple: you get what you pay for, and only you can subscribe value to any purchase -- Mac or no Mac. In the end, for me, the decision wasn't Mac or PC -- the decision was which Mac?