You might well be wondering at this point what the practical difference between certain time signatures is. Why, for example, state a time signature of 6/8 rather than 3/4, when both have the same number of quarter-note beats (three) in the bar? Like many things in music theory and notation, there is no scientific answer (this is an art form, remember!) – rather, each brings with it its own style of notation and suggests a particular feel.
To resolve that specific example, 3/4 would be used for a waltz, while the pacier-by-implication (eighthnotes being twice as ‘fast’ as quarternotes) 6/8, with its two triplets to the bar, would be more applicable to a march. Your DAW’s quantise grid will be of more than high enough resolution to render this difference irrelevant, except for the speed of the metronome, which will click away at the chosen note value and obviously encourage a different vibe when recording, depending on whether it’s sounding three quarter-notes or six eighth-notes in the bar. If you’re not sure if your piece is in 3/4 or 6/8, consider how you would tap your foot or fingers along to the beat – the answer should immediately become apparent.
In reality, the only signatures you’re ever likely to encounter for which the above is really relevant are in fact 3/4 and 6/8, thanks to the aforementioned waltz/march variation of the tutorial’s first two audio examples, which is significant. While it might well seem like a good plan to put your latest retro jungle track together in 8/8 because of its double-time sensibility, we’d be very surprised if you actually did, since it really is exactly the same thing as using a load of eighth-notes in 4/4.