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ivan@stellysee.de
| From | Ryan Williams <ryan@headphonetreats.com> |
| Subject | Re: Pro Tools (for dumb fools), my #$@! |
| Date | Thu, 16 Oct 2003 01:38:41 -0400 |
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> Of course it has a sound. Any digital process where you are affecting
> the
> sound in any way (volume, eq, effects, so on) is recalculating and
> reapproximating the analog equivalent of the sound any time you change
> anything.
I'm not speaking of effects. If you take two identical tracks, one at
0dB and another attenuated by 6dB in the DAW and played them for
someone while adjusting your playback level to compensate for the level
variations, you would be hard pressed to tell the difference. Sure,
there is a theoretical change in sound, but as far as perception goes,
it is virtually non-existent to these ears. Now, I can hear distinctive
differences in analog tape formulation, alignment EQ curves, bias,
reference fluxivity, azimuth alignment and particularly tape speed.
That doesn't mean they are bad things... the electrical and magnetic
effects of analog are often desirable. My point was just that digital,
with respect to tonal color, adds nothing. Anyway, my comment was
directed at the claim that a mic pre shootout recorded into protools
resulted in little to no discernible differences. That is rather silly.
This is rec.audio.pro isn't it?
Sorry to geek out. The important thing is really the music regardless
of how it was recorded. As many of my favorite albums were recorded on
cassette 4-track as on wide-track analog or the digital flavor of the
month. But, I just wanted to go on record as a pro tools user with the
basic 60's principal still in effect. Rarely punch in. Avoid plugins.
Most everything is recorded live with few mics. I do less editing now
than I did by hand with tape in the early 90's. Everyone using Pro
Tools isn't abusing it. Hell, even Rundgren is a ProTools convert, and
he basically uses it as a visual tape deck.
Ryan
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