by John Ludlow » Mon Feb 12, 2024 7:39 am
Q1:
Dell, first off, if someone is using an analog board, they might also use analog effects that are not built into the board on a 'send-and-return' basis. It probably depends upon the usage. The biggest reason not to might be the hassle of carrying more stuff to a gig, for instance. Particularly when the difference might be overwhelmed by the room anyway. But in a recording environment - definitely.
You mention EQ and compression as if each is one thing. But there is more than one kind of equalizer, and there are several types of compression that all sound different. And, in the analog world especially, the hardware often adds subtle distortion that people actually like - just like microphones. So much so that some prefer one over another and top manufacturers like Neve and API go out of their way to assure that their new products have very similar distortion to their older stuff. A good engineer can recognize the sonic effect of particular manufacturers in the music processed by them. It's treated sort of like a flavor or an aroma. You read about it especially in relation to mic preamps, but when you dig deeper - it's in everything.
Digital processing, ironically, is much cleaner, and so mostly devoid of distortion. In theory - that's good. And some people like that better. But most miss the subtle distortion, particularly even harmonics, that the old less-clean equipment added - or, at least, the better quality stuff. So, they have to add it back in somehow. Digital effect manufacturers go out of their way to attempt to emulate classic effects circuits - down to that extra distortion. You'll have to decide for yourself how well they do. But one way to get it for sure is just to use classic analog effects.
Q2 and Q3:
You presume that the digital version of those effects sounds identical to the analog version. That is a large presumption. Some of the desired sound of the analog effects result from randomness - which is hard to emulate in a digital environment. And some of it is so complex that it is also difficult. Still, it's all a matter of personal taste. If you like it - it's good enough. And, again, just as in the case of the analog board - you might want a type of compressor other than the one that came with the board - even though they are both still generally called 'compression'. You have to use your ears and your heart, rather than your intellect, to discern the difference.
Q4:
Don't forget that Bob also built in the opportunity to plug in VST effects on purpose. And, in general, they work really well in the environment. He also built in the opportunity to send-and-return to outboard analog effects. It's a matter of palette. Maybe a 32 band graphic equalizer makes more sense than a parametric equalizer for the situation at hand? Maybe what the track really needs is the aroma of a FET compressor? Bob's built in two ways for you to obtain that: either to the actual hardware or a digital emulation of your own choice. It's all about your ears. There was no reason for Bob to re-invent access to every variation of every effect. The ones he provides are terrific - but not exhaustive. And they weren't meant to be.
The bottom line though is still that you only need what you need. If you are satisfied with what you're listening to - why, besides curiosity I suppose, would you reach out for something else? But, if not - why wouldn't you?
[size=100]Q1:
Dell, first off, if someone is using an analog board, they might also use analog effects that are not built into the board on a 'send-and-return' basis. It probably depends upon the usage. The biggest reason not to might be the hassle of carrying more stuff to a gig, for instance. Particularly when the difference might be overwhelmed by the room anyway. But in a recording environment - definitely.
You mention EQ and compression as if each is one thing. But there is more than one kind of equalizer, and there are several types of compression that all sound different. And, in the analog world especially, the hardware often adds subtle distortion that people actually like - just like microphones. So much so that some prefer one over another and top manufacturers like Neve and API go out of their way to assure that their new products have very similar distortion to their older stuff. A good engineer can recognize the sonic effect of particular manufacturers in the music processed by them. It's treated sort of like a flavor or an aroma. You read about it especially in relation to mic preamps, but when you dig deeper - it's in everything.
Digital processing, ironically, is [I]much[/I] cleaner, and so mostly devoid of distortion. In theory - that's good. And some people like that better. But most miss the subtle distortion, particularly even harmonics, that the old less-clean equipment added - or, at least, the better quality stuff[size=100]. So, they have to add it back in somehow. Digital effect manufacturers go out of their way to attempt to emulate classic effects circuits - down to that extra distortion. You'll have to decide for yourself how well they do. But one way to get it for sure is just to use classic analog effects.
Q2 and Q3:
You presume that the digital version of those effects sounds identical to the analog version. That is a large presumption. Some of the desired sound of the analog effects result from randomness - which is hard to emulate in a digital environment. And some of it is so complex that it is also difficult. Still, it's all a matter of personal taste. If you like it - it's good enough. And, again, just as in the case of the analog board - you might want a type of compressor other than the one that came with the board - even though they are both still generally called 'compression'. You have to use your ears and your heart, rather than your intellect, to discern the difference.
Q4:
Don't forget that Bob also built in the opportunity to plug in VST effects on purpose. And, in general, they work really well in the environment. He also built in the opportunity to send-and-return to outboard analog effects. It's a matter of palette. Maybe a 32 band graphic equalizer makes more sense than a parametric equalizer for the situation at hand? Maybe what the track really needs is the aroma of a FET compressor? Bob's built in two ways for you to obtain that: either to the actual hardware or a digital emulation of your own choice. It's all about your ears. There was no reason for Bob to re-invent access to every variation of every effect. The ones he provides are terrific - but not exhaustive. And they weren't meant to be.
The bottom line though is still that you only need what you need. If you are satisfied with what you're listening to - why, besides curiosity I suppose, would you reach out for something else? But, if not - why wouldn't you?
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