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That's about as clever as this link gets - so you can guess that Rich Hilton who is Nile Rogers main studio man and Chic band member joins us, along with Mark Tinley(Duran Duran main man, sound artist and musician) who's in an airport in Inverness en route home - his line is a little lo-fi so please bear with us. Also this week, we're joined by PJ Tracy from Minneapolis US - an accomplished studio musician and composer, Dave Spiers he of GFORCE Software - makers of fine musical soft instruments and finally, the ever busy Jonh Musgrave - producer, musician and engineer.
Topics this week include, the recent Summer NAMM show in Austin TX, the demise of analog tape and associated plug-ins aiming to recapture it's glorious past, Ken Macbeth's band of synthesists and celebs, iTunes reach the 3 billion downloads and much more.
I'm in a bit of a rush this week, so please bear with me - the show links are rather incomplete...
US Tel: (312) 376-8089
Intl: 001 312 376-8089
UK: +44 (0)20 7870 8616
emulations: didn't get all the way thru your discussion of this but: I use Focusrite Liquid Mix. As I own a few pieces modeled in the LM, I know it isn't a replacement for those items, but it does do a GREAT job and sounds very different from say, Waves (non-logo stuff) or Oxford plugins which were designed as (I would say) idealized versions of dynamics and eq processors which don't sound anything like real world hardware but are useful. I got the LM thinking I could stop using native comps, but found that I needed both types. The Liquid Mix is not a static snapshot, but has been sampled at all frequencies at many dynamic levels, so it actually, freakishly, behaves like real gear! There's a huge qualitative difference, for example, depending on how hard you hit it at input and how hard you drive the output, as if it were in an analog signal path. And it doesn't do absolute brickwall limiting, because the hardware units don't. I see this as a new genre of dynamics/eq processing, just as convolution has given us a new genre of reverberation: real spaces rather than designed ones. So the question of whether having, say, a Duende is the same as having an SSL analog desk is the wrong question. Of course it's not the same. But is it better than a DAW running all WAVES or other "designed" plugins? That's really what matters unless one is really agonizing about whether to spend a million bucks or two thousand bucks. Though I do agonize about two thousand bucks, I can't afford to even ponder getting a big SSL and a rack of top comps and eq's. For me, I've found the LM + Oxford as mix tools to be a huge improvement over the previous generation of SOFTWARE, which is all that matters unless you're very rich. Most pros have some great gear for the front end, and many will break out a mix to an analog desk and employ still more hardware as I do, but I'm nowhere near having 40 channels of Manley, API, Neve gear and my work benefits considerably from convolution/modeling products.
08-Aug-07 04:10 PM