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Old 8th January 2020
  #5
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You are absolutely correct!

I can remember ( in the '80s) we were trying to keep everything as clean as possible from the two-inch 24 recorders to EQ/comp GML come to mind.

But, when we got digital in the studio, we thought we were missing something.. And, that something was the crosstalk, and third-order harmonics, and dare I say noise..

All I know, mixing in Harrison Mix Bus, Radar, Paris, Studio One, Cubendo, is a lot more sonically enjoyable than mixing in Pro Tools.( For me).

Take care.

Quote:
Originally Posted by thehightenor View Post
What's funny about your proposition is, the designers of those console we all wish PT (or Cubase in my case) emulated were actually busting their asses to push the technical ability of the components they had available at the time to try and make their large format console mixers sound as clean and perfect as a DAW's digital mixer. How back to front is that!

Obviously they failed, and those inaccuracies of the analog paths are what we revere today.

There's a thread on Gearslutz where one of the original designers at SSL said their dream desk at the time of designing the SSL series of desks would of been the Sony Oxford digital desk, he thought the Sony Oxford EQ was a true work of art - in a way he's right.

Funny how things get turnaround and mixed up (if you excuse the pun :-)