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Originally Posted by CDS  With 20 years experience, then you must remember when everyone was "pro tape" back in 1999 when ProTools 24 first begin to hit big. Remember when all the audio guys swore by their 499's? |
Yes, and that mentality is the same (albeit supporting the reverse concept) as saying a $200 software app is equivalent to an SSL console in sonic capabilities when other EQ and comp emulations require much more processing power to emulate the exact same hardware.
My stance is a bit different than most in this industry. I don't subscribe to the "have to have an SSL to make a hit record" idea, nor do I foolishly believe I am going to duplicate that hardware with Nuendo, UAD-1s, Waves, or any other software. What I do believe is that we are reaching an era of comparing apples and oranges. ITB has advantages over the older hardware/tape/console days, and outboard hardware has advantages over software versions and emulations.
The sound engineering approach isn't to isolate one's choices or opinions to one or the other exclusively, but to evaluate the pros and cons and make the best choice for the project at hand based on budget and time requirements, or more applicably, make the most of what you have available.
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I want to be clear in saying that having a console and a studio environment will always be viable when you need to record a band performance or orchestra.
There should be no reason an all midi (of VI) musician and vocalist should be going to a studio in 2009.
I would love to know where all this studio economy is flowing at where there is even a studio scene left. I know the studio scene in NYC is a ghost town with the very few facilities left only have about 3 years left of breath in them.
Software needs to step up and sound good doing it, studios are dying worst than the Jedi.
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Software has certainly made it's mark in the industry. I know the in-the-box vs. external gear argument still rages, and imho, it's time to put that one to bed for the above reasons I stated.
As far as the large studio model, I do agree it is suffering. There are still advantages to a large, beautifully treated room that can't be replaced as you noted, but the need to record a project start to finish there has declined significantly. At the same time, leaving a significant part of the production of a project in the hands of less experienced musicians can be a troubling prospect, and also a creatively refreshing one as well.
But, what I think is missing more now isn't a technical limitation within gear, software, etc, but in a large market of engineers (or aspiring engineers) that simply look to the gear to create a "sound" instead of their own ears, hard work, knowledge and experience. Regardless of the technology, there can be (and I hope never will be) a replacement for talent, great ears, experience and ingenuity.