BETTER THAN SWITCH AUDIO CONVERTER PRO
Pro Tools (then called Sound Tools) was in its infancy, but worked very well for two-track editing. įortunately for me, I started right on the cusp of affordable digital multitrack recorders, in the forms of the Alesis ADAT and Tascam DA-88s. You pays your money and takes your choice. In contrast, the Otari machines and Sony APRs had modern features, like auto-alignment and built-in synchronization, but were not considered great-sounding machines. The Studers had the best of both worlds, with good punching and great sound - at a very high price.
The Ampex machines sounded fantastic, but forget about punching at all. We recorded to either a Studer, Sony/MCI, Ampex or Otari tape machine and mixed through our analog boards to a half-inch tape machine, usually a Studer or Ampex.Įach tape machine had its advantages and disadvantages: the JH-24 (Sony/MCI) could punch like no other and sounded great, but alignment was a pain and the remote was little more than functional. I started my professional recording career in the early 1990’s, when 2-inch tape was the main recording format for all but the few who could afford a Sony 3348 digital machine. Listen to solo’d bass, guitar, and piano tracks from session stars Carlos Rodgarman, Grecco Buratto, and Carlitos del Puerto decide for yourself whether you prefer the pristine sound of digital recording or the “warm” tones of analog tape on electric guitar, bass, and piano. Which sounds better, analog tape or 24-bit digital recording? Los Angeles producer/engineer Adam Kagan set up a session to find out.
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