...you do realize that what you're suggesting is using a form of compression, which makes things selectively less dynamic, as a way to make a mix more dynamic?
Like I said before, I don't think he actually meant Dynamic when he said it. He wants it to stand out more, have more edge, more raw, energy. We could argue that adding a tape compression simulator to the track either does or doesn't give it any one of those things, only to find out in the end that we were using different terminology, and that really we agree.
And to support my argument. It is true that you can have dull sounding recordings from the go, that can't be helped too much, but in my experience, I have recorded stuff that sounded very flat and dull, but good. Once fixed up with simple things like eq, and the ever trusty, oh so simple tape head, you get a track that sounds a heck of a lot better than it did initially.
I do analog recording quite often. The reason that I, and so many others, like it, is because of the tape compression. Tape has this mysterious way of taking a sound and beefing it up, giving it some kinda raw power. Correct? We all know this. I could use the same mic set up going straight into PT, but it would sound flat, it needs something on it to give it what it ain't yet got. The sound thats there is good, just needs to be colored in.
Of course I'm looking at this all from the perspective that a colored sound, that is not necessarily "true" fidelity, is always superior.
Either way, I think my solution is what the fellow is looking for. I just want him to get back and tell me it solved his problem!
