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Originally Posted by Chuck Ainlay My personal opinion, on the converters in the Yamaha, is that they arn't as bad as you might think given what's all packaged, for the price, in this powerful little console. Let's get one thing straight though, I use the Yamaha setup as a cost contious alternative to my full on situation of 48 I-O Apogee 16x system through my SSL 9000 J at BackStage at Sound Stage Studios. The Yamaha is amazing for what it can do but given the choice I would always opt for the analog desk. |
Keyplayer: Isn't that more of a front end consideration? I mean if you had a rack of SSL XK Channels for capture, wouldn't that yield essentially the same results at mixdown? I get that you think the Apogee Converters are better, which makes sense. But after the mic pre and converter stage, it's just a routing concern, right? So if you captured on an SSL signal path, wouldn't you rather keep it digital until final playback? I just wonder about the extra conversions back and forth.
Not having access to such stellar gear on a regular basis, I can only assume that at your level, the extra conversions aren't a concern. But down here where I am (DMX R100s, DA7's and Mackie D8Bs or 32-8s), I was given to believe that once you got a pristine analog capture, it was to be protected at all cost until it's delivery as an analog signal again. That meant to stay in the box or as close to the box as possible (ie: a single stereo bus conversion to access an Eventide or Lexicon Processor instead of a plug-in) until you printed your stereo or 5.1 mix.
Has the quality of all the gear available now improved to such a state that this standard is no longer a concern?