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The 'sound' of analog isn't the reason to shun digital and all of the vast improvements it brings. The use of 'tape' in the modern studio Analog tape has become a tool more than a medium, even for the most discerning analog fanatics.

REEL TAPE SUITE CRACK HOW TO

There just seems to be a pervasive misunderstanding on how to apply that in the modern recording realm. I never said the 'analog sound' isn't a totally legitimate part of the tonal palette in the modern studio, because it is. You might be saying, 'Aaron, isn't that an argument for analog, as it's a sound we've come to expect?' and the answer to that is, in a way, yes. There's just nothing like that tape saturation sound.' And while the hard-hit sound of tape is indeed a certain sound, the sound most people have come to associate with analog and tape is ironically the sound of that gear being used incorrectly.Īudio developers spent the first 40-some years of the commercial recording industry trying to make studio gear as accurate and transparent as possible, and now plugin developers spend most of their time trying to figure out how to add noise back into our audio workflow. Sit around any group of self-anointed analog enthusiasts, and you'll eventually hear someone say, 'Oh man, I love hitting the tape hard. We've reached a strange state in the research and development facet of the recording industry. Many people try to point to analog as more accurate than digital, but it's actually the more colored, less representative of the two. Odd or even harmonics, transformers or tubes, tape 'compression' – regardless of what you're attributing it to, it's the sonic signature imparted by the process. What’s being described is distortion – albeit a pleasing distortion, but it's distortion nonetheless. The analog soundīefore we go any further, what is the analog 'sound'? Analog purists will throw out words like 'rich,' 'fat,' 'warm,' 'unctuous,' and any smattering of other terms that make them sound like they're writing a food blog review of a chocolate lava cake at some boutique patisserie more than describing audio. The 'sound' that everyone is describing is the non-linear sonic signature imparted by the flow of the signal through certain components.

So, let's take a look at why digital is not inferior to analog and why it is not the devil incarnate that has ruined music as we know it. At least that's what they'd have you believe. The fact of the matter is that digital is here to stay, and it couldn't be further from 'the death of music as we know it,' as many in the industry hail it.įor some reason, there's an overwhelming horde of mindless, message-board-misinformation regurgitating zealots who demonize the presence of a computer in the recording studio, or look at it as a necessary evil of our ever-increasing progress as the industry more or less railroads itself on digital rails towards some sort of musical Sodom and Gommorah.

I'm not saying analog is bad or that vintage outboard gear has no place there's a legitimate reason you still see Fairchild 670s going for $30,000. I'm also not necessarily trying to defend the MP3 as an audio format. Even in 2015, the audio community still seems to be firmly steeped in this ethos of 'analog is better… vintage is better… tape is better,' and for almost no legitimately defensible reason. If I had a dollar for every time I heard an artist say, 'You know what? I'm doing my next album to tape!' do you have any idea how much Brooklyn-made, handcrafted, small-batch mustache wax I could buy? Williamsburg's local economy would rival Dubai, and people would be building private islands in the East River.

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