On Tue, 5 Nov 2013 13:57:16 -0500 Joe Hartley <jh@xxxxxxxxxxxx> wrote: > On Tue, 5 Nov 2013 09:55:49 -0800 > Ken Restivo <ken@xxxxxxxxxxx> wrote: > > > I saw a mastering video with a guy who charges US$1k/song or something, and his "secret weapon" was a 2-track 1/4" deck. He'd dump the master mix from ProTools to the 1/4" deck at like 30ips, resample it back, and that got him the sweet lucrative loving he wanted from his customers. > > Because mmmmm, tape compression. You can fake it in digital, but it's not > the same. > > > I thought, wow. You take a medium in which even cheap consumer crap has effectively perfect resolution, and dump it to a medium with basically 12-bits resolution (analog tape), and then A/D it back, and that's "the sound" they wanted. > > Bob Katz begs to differ: Reading his comments I get the strong feeling he will say whatever gets him the most money. I've worked with 30ips machines. They are a total nightmare, and while a wide tape width improves noise, it actually detracts from frequency response (it would take an entire article to explain why). People usually use tape these days to add 2nd order harmonic distortion (warmth) and saturation distortion (compression). If you really want that, both can be had more reliably by alternative means. -- Will J Godfrey http://www.musically.me.uk Say you have a poem and I have a tune. Exchange them and we can both have a poem, a tune, and a song. _______________________________________________ Linux-audio-user mailing list Linux-audio-user@xxxxxxxxxxxxxxxxxxxx http://lists.linuxaudio.org/listinfo/linux-audio-user
