Andrew Chapman Creative Destroys the Plugins vs Hardware Myth – No More Excuses

Andrew Chapman opens with a classic internet comment accusing him of hardware bias, which he flips into a reality check: the so-called Plugins vs Hardware war is pure marketing fiction. This isn’t a real battle, it’s a story spun by companies who want you to pick sides and open your wallet. Chapman’s not having it – he’s seen through the smoke and mirrors, and he’s here to remind us that both plugins and hardware have their place in the studio.

The point is simple: don’t get sucked into tribalism. Whether you’re a plugin junkie or a hardware hoarder, the only real loser is your creativity if you let marketing define your identity. Chapman’s message is clear – experiment, have fun, and don’t let your gear choices box you in. The only war happening is in your head, and it’s time to call a ceasefire.

Nobody’s immune to the marketing machine – not even the most cynical among us. Chapman breaks down how both plugin and hardware companies sell you more than just gear; they sell you a story, a sense of belonging, and even a bit of ego. Plugins promise you the vintage magic of a Neve or Fairchild, right down to the faceplate graphics, while hardware makers push the legend of the red knob and the mythic 3D mojo. It’s all about making you feel like you’re part of an elite club, whether you’re clicking a mouse or turning a knob.

The real danger? When you start tying your identity to your gear, you stop experimenting. Chapman warns that this is where creativity goes to die – you’re no longer chasing sounds, you’re defending your tribe. He’s got no time for that. He wants you to recognise the manipulation and cut through the noise before you end up creatively bankrupt.

He dives into the specifics: plugin marketing leans on digital clones and familiar interfaces, while hardware brands obsess over vintage colours and tactile details. Both sides are playing the same psychological game, and the only way to win is to stay self-aware and keep your ears open. Chapman’s approach is refreshingly grounded – he’s not here to sell you a dream, just to help you dodge the hype traps.

Chapman flips the script on gear obsession: it’s not about whether your new toy is a perfect clone, it’s about how it actually sounds in your hands. Forget the endless comparisons – the only question that matters is, does this tool solve a problem in your studio or help you get the sound you want? If it does, it’s worth your time, regardless of the badge on the front.

He hammers home that gear isn’t a straight line from bad to good – it’s a wild spectrum of flavours. There’s no such thing as a universally good mic or plugin, just ones that fit your workflow and taste. Chapman’s advice? Ignore the brand wars and focus on what makes your tracks slap. If it works for you, it works. End of story.

Here’s where Chapman gets practical. He lays out a no-nonsense roadmap for building up your studio without falling into the money pit. Start with your basics: a decent interface, a serviceable mic, and stock plugins. When you’re ready to upgrade, boutique plugins (especially EQs and compressors) are your first stop – but only if you’ve rinsed your freebies and know what you’re missing. Keep an eye on deals and bundles, because nobody likes paying full price.

Once your plugin game is tight, Chapman suggests levelling up your main vocal mic. He throws out some real-world options: the Dachman Audio DA87 SE for vintage vibes, the Roswell Mini K87 for versatility, and the Shure KSM32 for smoothness. After that, it’s preamp time – not the sexiest upgrade, but one that can actually change your sound at the source. Chapman’s picks include the Focusrite ISA One, Black Lion Audio B12A, and a few others that won’t bankrupt you. His advice is brutally honest: don’t waste cash on overpriced gear if you’re not ready for it, and always check the used market for bargains. The law of diminishing returns is real, so buy smart and keep your eyes on the music, not the marketing.