(Warning to the experienced: This thread is intended for newbies and intemediates. Some of the more seasoned of you might get a little bored with this, just to warn you! You're welcome to chime in your two cents, though, if I'm wrong or if you have a different opinion on something I say. Thanks!)
The search for Clean
It seems we musicians and (amateur) engineers are always striving for a "clear, accurate, and crisp" sound coming from our microphones. So much so that a great demand has been placed on microphone manufacturers to satisfy this craving. Large diaphragm condensers have become the most talked-about subject on recording forums (right next to "accurate, clean"sound cards). Hailed for their fast transient response, inexpensive SDCs have created a lot of demand themselves with their superior transient response and accuracy.
After listening to our crisp, clear mixes long enough, we eventually reach a revelation. It can be summed up in 6 words: "I want it to sound warmer." After discussing this new longing with a trusted source, we learn all about tubes.
Just what is warmth anyway?
Now my school of thought says you don't have to know how the phone works in order to make a call with it. I apply the same theory to tube circuitry. So here is my ultra-simplified dummy definition of warmth: "adj. A controlled form of distortion to the audio signal that results in a pleasing and musical effect to the ear."
You realize what we are doing is looking for ways to distort our signal. Don't you?
It's kind of like spending all day cleaning, and then deciding your house is too neat. "How can I make this place look warmer (there's that word again) and more lived-in?" "I got it! I'll throw a couple of socks over here, and mess this couch up a bit . . . "
Well, today is your lucky day
Well, maybe-maybe not. Let's just say that I am going to share some ideas on how to warm up a signal without expensive tubes. If you consider yourself lucky (my sympathies go out to you), then great.
Suggestion 1: Dynamic Microphones are your friend. Slower transient response and less accuracy = warmth, my friends. A really good dynamic mic will sound noticeably warmer, and it will still maintain all of the sonic integrity you need. If you would like some examples of good large-diaphragm dynamics, this article is full of them. Quote from article: "Can you tell that I like big dynamic mics yet?":
http://www.prorec.com/prorec/articles.nsf/files/62600CDE2A2ED769862566880015FFC5
Suggestion 2: Reel-to-reels. For financial reasons, it would be tough for a lot of people to swing for a 2" tape deck. However, if you can get a hold of a good 1/4" machine, this could be an ideal medium for recording a few tracks at a time, and for overdubs. Here is how I use mine:
When tracking, I will run all drums first to my mixer. There, I will create as good of a sub mix as I can and mix to two tracks (stereo). It takes a while, but with practice you can learn to get a decent, usable mix on the spot. From the mixer, this is recorded on to my 1/4" reel-to-reel at high speed.
At the same time, I am sending all other signals (mic'ed guitar, direct bass, maybe a scratch vocal) through preamps and/or DI's straight to the inputs on my sound card. After the basic tracking, I will then try recording some of the overdubs on to tape as well. NOTE: * This is not going to be possible if you have less-than-stellar players, or if you are doing a lot of punch ins/outs! * Some musicians I have worked with prefer to do a bunch of tracks straight through -- and then let me worry about pieceing together the best takes later. These are the types of musicians this will work well with.
Syncing it all up
Before starting, I will always record something to both the tape and the the DAW at the same time. Usually something sharp like a clap or finger snap. I try to mix the sound up for each take. I will then repeat this step when tracking is complete. This gives me two reference points for syncing later on. I might even record the entire track to DAW simultaneously just for kicks.
All of the taped tracks are then recorded straight to the DAW. I'll be very lucky if the tracks sync up perfectly. If I need to time-stretch them, I have programs that do a very good job of this without noticeable artifacts. From there I can audition, cut, paste, and edit all of the best tracks. In some cases, I may even find that I like the DAW-recorded tracks better, so they come in handy if you have them available.
This allows me sort of a "best of both worlds" situation. The unmistakeable sound of magnetic particles and how they react creates a pleasing effect to the ear. A lot of it is the natural compression that occurs when the tape is saturated with audio signal.
Compression
Analog tape isn't the only means of creating a warm and pleasing compression effect. The opto-compressor is known for creating this effect. The details of how it all works might bore some of the non-techoids, so let's just say that it does sound warm. There are a few very good manufacturers that produce opto compressors at a good price and without using tubes.
Summing it up
Chessrock has had a lot of fun with this, so I offer this: Warmth is a very subjective experience. It is different for everyone, so be careful with it. One man's warmth may just be another man's mud. One man's clean may be another man's sterile. Give some serious thought and consideration to identifying and defining what you experience as warm. What sounds "warm" to you, and who does a good job of achieving it, in your opinion? Listen to some old recordings of "the Band." Take "Dark Side of the Moon" for a spin. Do these recordings sound warm to you, or do they just sound dated?
Have fun,
Chess
The search for Clean
It seems we musicians and (amateur) engineers are always striving for a "clear, accurate, and crisp" sound coming from our microphones. So much so that a great demand has been placed on microphone manufacturers to satisfy this craving. Large diaphragm condensers have become the most talked-about subject on recording forums (right next to "accurate, clean"sound cards). Hailed for their fast transient response, inexpensive SDCs have created a lot of demand themselves with their superior transient response and accuracy.
After listening to our crisp, clear mixes long enough, we eventually reach a revelation. It can be summed up in 6 words: "I want it to sound warmer." After discussing this new longing with a trusted source, we learn all about tubes.
Just what is warmth anyway?
Now my school of thought says you don't have to know how the phone works in order to make a call with it. I apply the same theory to tube circuitry. So here is my ultra-simplified dummy definition of warmth: "adj. A controlled form of distortion to the audio signal that results in a pleasing and musical effect to the ear."
You realize what we are doing is looking for ways to distort our signal. Don't you?
It's kind of like spending all day cleaning, and then deciding your house is too neat. "How can I make this place look warmer (there's that word again) and more lived-in?" "I got it! I'll throw a couple of socks over here, and mess this couch up a bit . . . "
Well, today is your lucky day
Well, maybe-maybe not. Let's just say that I am going to share some ideas on how to warm up a signal without expensive tubes. If you consider yourself lucky (my sympathies go out to you), then great.
Suggestion 1: Dynamic Microphones are your friend. Slower transient response and less accuracy = warmth, my friends. A really good dynamic mic will sound noticeably warmer, and it will still maintain all of the sonic integrity you need. If you would like some examples of good large-diaphragm dynamics, this article is full of them. Quote from article: "Can you tell that I like big dynamic mics yet?":
http://www.prorec.com/prorec/articles.nsf/files/62600CDE2A2ED769862566880015FFC5
Suggestion 2: Reel-to-reels. For financial reasons, it would be tough for a lot of people to swing for a 2" tape deck. However, if you can get a hold of a good 1/4" machine, this could be an ideal medium for recording a few tracks at a time, and for overdubs. Here is how I use mine:
When tracking, I will run all drums first to my mixer. There, I will create as good of a sub mix as I can and mix to two tracks (stereo). It takes a while, but with practice you can learn to get a decent, usable mix on the spot. From the mixer, this is recorded on to my 1/4" reel-to-reel at high speed.
At the same time, I am sending all other signals (mic'ed guitar, direct bass, maybe a scratch vocal) through preamps and/or DI's straight to the inputs on my sound card. After the basic tracking, I will then try recording some of the overdubs on to tape as well. NOTE: * This is not going to be possible if you have less-than-stellar players, or if you are doing a lot of punch ins/outs! * Some musicians I have worked with prefer to do a bunch of tracks straight through -- and then let me worry about pieceing together the best takes later. These are the types of musicians this will work well with.
Syncing it all up
Before starting, I will always record something to both the tape and the the DAW at the same time. Usually something sharp like a clap or finger snap. I try to mix the sound up for each take. I will then repeat this step when tracking is complete. This gives me two reference points for syncing later on. I might even record the entire track to DAW simultaneously just for kicks.
All of the taped tracks are then recorded straight to the DAW. I'll be very lucky if the tracks sync up perfectly. If I need to time-stretch them, I have programs that do a very good job of this without noticeable artifacts. From there I can audition, cut, paste, and edit all of the best tracks. In some cases, I may even find that I like the DAW-recorded tracks better, so they come in handy if you have them available.
This allows me sort of a "best of both worlds" situation. The unmistakeable sound of magnetic particles and how they react creates a pleasing effect to the ear. A lot of it is the natural compression that occurs when the tape is saturated with audio signal.
Compression
Analog tape isn't the only means of creating a warm and pleasing compression effect. The opto-compressor is known for creating this effect. The details of how it all works might bore some of the non-techoids, so let's just say that it does sound warm. There are a few very good manufacturers that produce opto compressors at a good price and without using tubes.
Summing it up
Chessrock has had a lot of fun with this, so I offer this: Warmth is a very subjective experience. It is different for everyone, so be careful with it. One man's warmth may just be another man's mud. One man's clean may be another man's sterile. Give some serious thought and consideration to identifying and defining what you experience as warm. What sounds "warm" to you, and who does a good job of achieving it, in your opinion? Listen to some old recordings of "the Band." Take "Dark Side of the Moon" for a spin. Do these recordings sound warm to you, or do they just sound dated?
Have fun,
Chess
