The fact that we can combine the analog and digital worlds is something worth celebrating.
While this sounds somewhat reckless or even dangerous, interesting sonic thing Play Video To "saturate" analog equipment means to feed more signal into them than they were designed to handle. From an engineering perspective, while it’s undeniably nice to not be bound by the cost, size and slower workflow of analog tape, there is something that I find somewhat flat and uninspiring about making music strictly inside the box.ĭown in Hollywood Saturation is one of the most versatile (and fun) tools that we as engineers have to add character and color to tracks. The frequency response, the noise and, yes, the sound of saturation became something that we found familiar, even comforting. It is my theory, however, that because every single popular music release was created using a strictly analog production process up until 1979’s Bop Till You Drop by Ry Cooder (which was recorded on a 32-track digital machine by 3M) humanity became accustomed to the sound of that strictly analog process.
Digital audio is an accurate capture method you get what you put into it. Let me clarify: if you use a high-quality microphone to record a compelling performance played on a well-built instrument in a beautiful-sounding space, then digital audio is fantastic. It’s clear, colorless and honest-sounding. It’s certainly not bad, it’s just a bit sterile. For all that is wonderful about working with modern digital audio, it sounds kind of…boring.
It grants us nearly limitless tracks, extreme portability, practically noiseless recording, lightning-fast recall and so many other benefits that the analog realm can’t offer. While this sounds somewhat reckless or even dangerous, interesting sonic things can happen by pushing tape, tubes, transistors and circuits to (and past) their limits.ĭigital audio is unquestionably brilliant. To “saturate” analog equipment means to feed more signal into them than they were designed to handle. Saturation is one of the most versatile (and fun) tools that we as engineers have to add character and color to tracks.
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