chessrock said:
I told him the 1010 has trans-coupling transistors in it (I don't even think there is such a thing as a trans-couping transistor) that, when engaged, emulate the sound of slightly-driven Telefunken tubes and analog saturation even better than analog.
He said "Yea, I think I heard something about that." "When can we record?"
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Oh, yeah! Everybody knows about those trans-coupling transistors!
I knew a guy in art school who knew the how to's of everything cold, from lithography to photography--whatever. Unfortunately, he had absolutely no artistic talent whatsoever, so he became sort of a tech head. His work was lame.
People will buy into any kind of hype if they think it will make them sound better. Its a lot easier than developing real skills required that make you sound professional. "if only I had a new preamp, a better mic, an analog tape machine, a Neve board, a Lexicon, a Distressor, yada yada yada." My theory is that if you can't make good sounding music with a mackie board, a SM57, one LD condensor an an ADAT, Tascam 8-track or a simple computer recording program, all that other shit means nothing. Great gear is still great and all, but it doesn't transform garbage into diamonds.
All that aside, do you think that Behringer thingy is the ticket? I like the tube simulation plus real tubes plus two exciters at once idea. Especially if I could run it through a pair of Tube MP's. I think I'd finally be able to do something with my other gear! How about a Bellari tube something for the final stage, just to fatten and crisp it up a bit more?
)