Originally Posted by mizzle
Oh boy. Well, it's up to you to miss out on the opportunities available. If you don't understand the nature of digital resolution and the what it takes to cross the threshold of human hearing capabilities, that is not my fault, but it is your mistake in the long run. Fact is, you are not going to get rid of the digital stage. Best thing for you to do is aid in transition by helping out.
Or you can release all of your work in the retro-vinyl market bubble, even cassettes if you so desire.
Young kids with laptops are going to eat your practice up, because the SKILL of using these tools is far larger a portion of the equation than the extremely small differences in response between an analog comp and it's "emulation". I think a lot of people are sour on the idea of the playing field getting leveled now that access to superior tools is really opening up, and it really scares those of you who have a significant investment in the analog tools because ownership used to guarantee income. The game has changed and strata are shifting.
Have you heard the Abbey Road RS124?
I owned a top-notch attack/release modded Gates STA-LEVEL and had the pleasure of using it for 4 years on all kinds of material. With the RS124 I do not miss the STA-LEVEL one bit. I've also got a Manley Vari-Mu with the original RCA tube in it. You know what? It collects dust. API? Sold. EAR mastering EQ's? Sold.
I am not nostalgic. I am realistic.
Ahh... A finger pointing "agenda call-out" GS pissing match.
I have always encouraged folks on this site, and elsewhere, to use whatever audio equipment they have available to them to make music... and make their own equipment decisions based on the intersection of their practical experiences and the vista of opportunity.
We now have some indication of how you have come to yours.