Andrew Chapman Creative’s 2026 Pro Audio Bingo: Hype, Tape, and AI Mayhem

Chapman dives headfirst into the AI swamp, where every new feature promises to either save music or ruin it forever. The idea of an AI-mixed track bagging a Grammy is floated—not as a joke, but as a dead-serious possibility that’ll have engineers reaching for the nearest pint. He’s honest about his own flip-flopping on the subject, admitting that his opinion on AI changes more often than a dodgy pub jukebox.

The real kicker is how AI’s creeping into every corner of the industry, from plugins to DAWs, with big companies ready to slap an ‘anti-AI’ badge on their gear just to flog a few more units. Chapman’s not here to tell you what to think—he just wants you to see through the marketing fog. If you’re after a nuanced take, you’ll find it here, but don’t expect any easy answers. The only certainty is that AI will keep stirring the pot, whether we like it or not.

If you’ve ever wanted to throw your laptop out the window after another forced plugin update, you’re not alone. Chapman highlights the growing consensus that plugins have peaked—no more jaw-dropping improvements, just endless minor tweaks and subscription schemes. He’s seen the chatter online: engineers grumbling that the golden age of plugins was five years ago, and now it’s just the same old tricks with a new coat of paint.

The debate between stock and third-party plugins rages on, with Chapman lampooning the idea that a big-name engineer using a stock EQ would send the internet into meltdown. The frustration is real, and so is the fatigue. If you’re sick of being squeezed for every last penny by plugin makers, Chapman’s got your back—and a few choice words for the companies milking the hype.

Nostalgia’s a hell of a drug, and Chapman reckons the industry’s hooked. He points to the rise of vintage reissues and a renewed interest in analog tape as proof that producers are desperate for something authentic. It’s not just about the sound—though he’s quick to remind us that tape isn’t some magic vintage fairy dust, it’s just bloody good. The real appeal is in the limitations: less editing, more raw performance, and a workflow that forces you to commit.

He’s got no time for purists who think old gear is automatically better, but he does see the value in chasing a unique vibe. Chapman’s own experiments with tape-style DAW recording show that sometimes, working within constraints leads to the most creative results. If you want to know what real, unpolished music-making feels like, you’ll have to watch the video—no article can capture the hiss, the warts, or the magic.

Chapman’s bingo card isn’t just a list of predictions—it’s an open invitation to take the piss out of the industry’s sacred cows. Whether he’s ribbing vintage gear snobs, mocking pointless mic reissues, or imagining Tom Green as the next audio influencer, the humour’s as sharp as a broken fader. It’s a reminder that, for all the hype and hand-wringing, music production is supposed to be fun.

If you’re an insider, you’ll find plenty to nod (or groan) along with. If you’re just a curious listener, you’ll get a crash course in why so many producers are equal parts cynical and obsessed. Chapman’s style is all about cutting through the nonsense and keeping things real—something this industry could use a lot more of.