I Know It Was You, Line 6

The only problem with digital emulation is that it can sometimes sound dull or brittle when compared to the real deal. Recently, I worked on a project that was recorded at a few different world-class studios, using both analog and digital recorders and used the experience to document some notable differences in the sonics of each recording format. Keep in mind that Elliot's drum sound will probably kill yours regardless of analog or digital, but it is a great benchmark to work towards. The electric guitars benefited from the rounding off that the tape provided on certain tracks and on others I like the clarity of digital signal. Signal level is still important to understand, both going into the digital world and when using plugins and routing inside your DAW.



So digital in the performance doesn't have anything much to do with digital in the recording... you may be using no digital processor in your FX chain, or you may have a Variax feeding a Pod feeding a Spider or an Amplifi, I'm still going to mic that amplifier in the same way, if that's the sound you want recorded. Once it became cheap to exceed the bandwidth and SNR of analog gear with digital, there was no longer any automatic FAIL just for being digital. It allows musicians to create their own sound in ways never possible for most people in analog.

I also have a MOTU Microlite MIDI interface I have two of everything an A and a B rig in case I have any problems during the set up on stage. When I put together my last set up I had an Emulator E4, it cost £4000 and had a tiny 1gb hard drive and about 16mb of ram. Thank you for being so detailed in your set up and it was cool to see your home studio photo as well.

Prior to amplification, the analog path hits an analog Steve Firlotte guitar splitter where the RJM loop switcher controls individual loops that insert effects in front of each separate stereo Fractal Axe-Fx. Solid state delay units using analog bucket brigade delay circuits became available in the 1970s and were briefly a mainstream alternative to tape echo.

DON'T WAST YOURS... Buy a Marshall, buy some analog pedals, buy whatever you want, don't buy digital processors, don't kill the guitar. I've gone from pedals to Line6 Pod and back to pedals (this time ones I built, either ggg kits or lately from scratch). Analog certainly has an advantage in tone but to me the real advantage is in the tweaking. I'm here to tell you that the digital was superior to the grand in every way except appearance.

By mashing up digital manufacturing techniques with some design secrets from the days when aircrafts were made of wood, Organic Dynamic can make a wooden surfboard that is only a few hundred grams heavier than a top end foam board, and is stronger and more durable. They aim to set up hubs around the country close to local shapers where the board blanks can be laser cut. Kine6 have taken motion capture technology developed for Weta Digital and adapted it for small filmmakers. Musicians, like artists, rely on their Eddie Kramer tools - effects pedals allow the creator to add colour and tone to a work.

It is true that the very first generation of digital recorders, like the Sony F1 and early DAT machines, didn't sound as good as the state-of-the-art analog machines. It is my belief that much of the pain of switching over to digital recording was due to the tools that engineers had mastered for analog recording. For instance, applying EQ and compression (or no compression) to tape to make up for the color that the tape added didn't sound so great when recording to digital.

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