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In Reply to: RE: According to Martin posted by E-Stat on August 26, 2014 at 08:08:51
I do not disagree and I'm a firm believer that technical restrictions are frequently a good thing as it does force the artists to perform better in the studio.
As it happens the recordings I enjoy most were made at times when technical limitations did abound. The SQ may not be all there but the emotions are and usually in staggering amounts when compared to what came later in the wake of the technical overkill.
For example Steely Dan are frequently mentioned as the benchmark for SQ and they used every studio trick available including the first use of a digital sampler to clean up the drum timing (12bit, 12.5khz no less!).
However all their output leaves me emotionally completely cold compared to a cheap 16tr recording like The Specials for example. Or Otis Redding or Sam&Dave or Booker T etc.
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The reason for 60 channels, or 72 channels, or whatever number, isn't because they use them all the time, it's because they MIGHT need them, and because having more channels available gives you a marketing edge over the studio across town that only has 36 channels. Especially in film production, you can burn through channels in a hurry. And when you've got a 20 or 40 piece orchestra, and effects tracks, and dialogue tracks, and both raw and processed tracks, and, and, ...
:)
I know but the problem is that the temptation to use more channels/outboard gear/editing than absolutely necessary there for all to see, right in the middle of the control room.
Which incidentally is my main gripe with digital recording/production.
IMO the sound quality is no problem at all (even cheap digital gear easily outperforms a top-of-the-range Studer) but the ability to quick and easily fiddle with things which should not be fiddled with like pitch and timing corrections added to an unlimited track count.
Also makes for lazy artists who insist on fixing things 'in the mix' rather than in their performance.
nt
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