I wanna mention a handful of things, but first off, I must apologize for the length of this post and how long it'll take you to get through it. But I think the topic merits it.
Recently, I was going through a series of threads related to what Recording Engineer thinks about Davisound equipment. One thing that jumped out at me was his talking about tracking to tape, and how the take was almost mixed already, the sound was so good.
Next, here's a thread from the Pro Audio board - a buncha pros bashing Pro Tools basically, but pay particular attention to comments by Rog and Mixerman. None of 'em are saying digital sounds better than tape, and most say the opposite:
http://www.recording.org/cgi-local/ubb/ultimatebb.cgi?ubb=get_topic&f=21&t=000028
Finally, here's an excerpt from an article I got from the Tape Op site (go there if you want the whole article):
A low cost, high quality analog studio?
by Steve Pogact
"Having just completed equipping a new project studio, I would like to offer a few thoughts on why (and how) analog equipment might deserve serious consideration when planning your studio’s gear purchases.
"Analog Recorders - Some of the greatest performance-per-dollar bargains in pro audio include analog open reel recorders. While two inch 24 track machines and _" mixdown decks still command reasonable prices on the used market, most other formats are available for pennies on the dollar. Included among these bargains are one inch 8 track and two inch 16 track recorders, arguably the finest sounding analog recording formats ever manufactured for commercial sale. With 24 tracks having been the standard studio track configuration for a _ century, the 8 track recorders have long been considered obsolete. The 16 track decks command somewhat higher prices but are still viewed as inadequate by most. I’ll spare you the tired stories about the Beatles and others recording their seminal masterpieces on far fewer tracks; suffice it to say that with proper planning, either of these two formats can work practically and efficiently for most types of music. And if the rest of the recording signal chain is up to par, these two formats can record and playback your music with fidelity unsurpassed by any other equipment, analog or digital, at any price. Not bad when you consider that one-inch 8-tracks in good working condition can cost less than the remote control for an ADAT or
DA88 system.
"I’m not sure how much longer these firesale prices will continue. We’re dealing with a finite quantity of recorders (they ain’t making any more) and demand is starting to creep up. Commercial studios are starting to promote the old MCI 16 track in their basement as offering that "warm analog tone" to a new generation of musicians trying to ride the latest retro fad. And the biggest surprise is the discovery that 8 track decks are ideal for mastering 5.1 format surround recordings. A few enterprising hucksters are starting to ask inflated prices in classified listings and on the auctions sites, but the recorders that actually sell are still going for prices that make them extremely attractive to savvy buyers. I should know better than to toss out likely price estimates, but…… figure $1,500 to $3,500 for one inch 8 track and $4,000 to $6,500 for two inch 16 track decks in "ready to go" condition. Please remember that even the best maintained recorders will need to be adjusted, aligned, biased, etc. prior to putting them into service at your studio. In my opinion, the end result is worth whatever effort it takes."
Ideas in this article connect with ideas that came up in the Pro Audio thread.
Finally, Sjoko talks in this thread about getting that tape saturation sound digitally. I think this is the way to go if you know how to do it, (Well, Sjoko, how *do* you do it?
), but only because digital stuff is so hyped these days that it's the cheapest way to go considering that most of us are into it up to the hilt already.
Correct me if I'm wrong. I know you will anyway.
