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Post by mrholmes on Jun 27, 2021 20:29:12 GMT -6
For me it was a sort of self denial. When I plain and simple counted my works I had to admit the best ones were all ITB…. Discussing a possible technical difference is wasted lifetime to me. How we are interfacing plug ins is the future market with tons of $$$ in it. You're ITB and you're killing it. We all have an idea of what "Best" represents. There are many of us trying to figure out how the timeless stuff was made. And 99% of the time, something OTB is going to come into play. It’s a free world and you can choose what’s best for your goal. IMO we already mimic classic gear in a Plug in.
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Post by rowmat on Jun 27, 2021 20:41:43 GMT -6
I’m having to adapt from a hybrid setup with a console that we used in the studio to more ITB at home.
Tracking via hardware with tone (pres/EQ’s/comps) and committing to sounds going in gets you a fair way there.
But from that point I’m finding that if I stay all the way ITB I’m still missing that last ‘10%’ (😉) or so.
Running hardware EQ’s and comps on the stereo bus during mixdown gets it close enough to where I’m not hankering too much for the old setup.
The console was definitely something I would be reluctant not to have when tracking bands though. Although those days are mostly behind me.
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Post by Johnkenn on Jun 27, 2021 21:32:34 GMT -6
I still think there is a bottom end and punch that running through a lot of iron adds. It just tends to make things easier - but certainly less convenient.
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Post by mrholmes on Jun 27, 2021 21:44:10 GMT -6
I’m having to adapt from a hybrid setup with a console that we used in the studio to more ITB at home. Tracking via hardware with tone (pres/EQ’s/comps) and committing to sounds going in gets you a fair way there. But from that point I’m finding that if I stay all the way ITB I’m still missing that last ‘10%’ (😉) or so. Running hardware EQ’s and comps on the stereo bus during mixdown gets it close enough to where I’m not hankering too much for the old setup. The console was definitely something I would be reluctant not to have when tracking bands though. Although those days are mostly behind me. That 10% is for me psychology: Every believe system is a part of a Self-fulfilling prophecy. Furthermore, we all suffer from perception distortion. Everybody knows the situation that you love a song today and you dislike it another day. Reason your feelings changed. Our feelings also influence how good our senses work….. To me it made total sense to prove my beliefs via blind AB in mixture. Out of a sudden I had to admit that plug ins can do it.
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Post by Deleted on Jun 27, 2021 22:57:06 GMT -6
I just remembered who Brian Lucey is. I forgot he was that tube guy somebody told me about who mastered some records that have tube bass. He has a sound that often goes for, it's not clean, he gets it with hardware, and probably couldn't get it exactly with software but to proclaim random modern tube gear is superior to 64-bit digital processing that's been around since the 90s for performing linear operations is insane. I don't even think he meant that. "93%" probably only applies to his sound or to emulations of analog gear and he's probably right considering he likes some very good stuff like Bricasti converters.
Now for just stuff being good? Some plugins were there over 20 years ago. Run Oxford EQ in 96khz. It's there. I've been fooling around with the old free Variety of Sound Boot EQ II and you can really push the eq hard into the tube stage in a very analog way; the softness and sag soaks up all the crazy boosts.
Compressors only got there very recently. Maybe a couple years ago, only the best digital ones, no emulations, and you have to know how to set them. The rest shit out on fast attacks and releases, same as the ancient CLA plugs and what comes in your DAW, or are reliant on lookahead, bandpassed detectors like Rcomp, or playing around with the detector like Arousor and Fetpressor.
There are mastering engineers doing great work ITB with a pair of something commonplace like B&Ws.
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