ProAudio Review - November 2008 - (Page 48)

www.proaudioreview.com log processor. Manufacturers of these front-end boxes have finally caught on, and today we’re seeing devices such as the Mackie 1200F (recently reviewed in PAR) or the Focusrite Saffire Pro26 with normalled insert send and return jacks immediately following the preamp, at least on selected channels. EveAnna Manley— What We Do With Analog “Since the (unfortunate) replacement of analog tape with computer-based recording solutions what we have seen is the spread of the hobby of recording music because now any kid with a computer and some simple gear can start recording his dream at home. Coupled with that rise in accessibility is the decline in the public’s audio quality playback, down from what some still believe was the best sounding — the vinyl LP format — to Compact Disc in the 1980’s, further sliding down the pit filled with a host of badly compressed audio formats such as mp3 or HD radio or satellite radio, all of which are infected with horrible audio artifacts. Convenient and The Manley VOXBOX is a flexible, comprehensive front-end for many DAW-based recordists desiring classic aural ‘fingerprints’ upon their work. portable, yes, but sometimes not as good-sounding as a decent cassette tape! So, as folks rediscover that they are missing something in their recorded and stored sound, they eventually find their way to high-end analog (and vacuum-tube gear) companies such as mine, searching for that magic that we lost years ago. “Manley Labs attacks from both ends, with our pro audio recording equipment starting at the microphone, through the pre-amplification, equalizing, and dynamics control up to delivery into the workstation. Then in the mastering and audiophile playback side of things, we manufacture a whole range of vacuum-tube phono stages, preamps, and power amplifiers. None of this gear is inexpensive; those who desire the fast, clean, and soulful realistic sound that high-end analog equipment can provide are who we are here for.” On Analog Recording And Tape One retro area that’s been neglected is analog recorders. It’s not that nobody wants one, but nobody’s building them any more—though ATR Service’s Mike Spitz says he still has plans to do so. On one of the audio forums I frequent, hardly a week goes by when someone doesn’t ask about using an analog recorder to “warm up” a digital recording. What they often don’t realize is that the sound that they’re dreaming of isn’t as simple as using tape as a signal processor; it’s a product of the entire recording process of the era. There’s a sometimes desirable sound quality associated with tracking particularly drums and bass on an Ampex MM-1200 or Studer A-80, but you won’t reach analog Nirvana substituting a wellused but more accessible TASCAM 80-8 or your grandfather’s TEAC rescued from the attic. That approach will only serve to remind you of why people were happy to move away from analog tape. Analog tape is still a viable recording medium. Spitz overhauls classic broadcast and studio recorders and is probably more committed to the preservation of analog recording than anyone else today—so much so that he built a factory in the USA to manufac- ture analog recording tape after 3M and Quantegy (Ampex) stopped production. Mike will tell you that, depending on the tape you choose and how the recorder is adjusted, tape is capable of providing a wide sound palette, not just “warmth.” For those willing to take the plunge, there are still plenty of two-track Ampex AG 440s available. These are built to last a lifetime, can be had cheaply, and all but the worst of them (if not stripped for parts) can be put into good-as-new condition for under $1,000. In Europe, a Studer — because of the better parts availability over there — might be a smarter investment. Two-inch 16and 24-track recorders are cheap as dirt these days. Unlike much of today’s digital gear, there’s more to using an analog recorder than simply buying it and plugging it in. You’ll need some basic test equipment, a calibration tape, and the willingness to learn to keep it in adjustment. With quarter-inch tape selling in the ballpark of $50 and two-inch tape at around $250 per reel, feeding these beasts is a serious commitment. Lots of what was good in the ‘Good Old Days’ is still available as genuine vintage gear, modern vintage recreations, and newly designed analog gear designed to integrate nicely with today’s digital systems. You don’t have to be nostalgic for the old gear and the old ways — those options are still available. 48 ProAudioReview | November 2008 http://www.proaudioreview.com http://www.sonicus.net http://www.sonicus.net

Table of Contents Feed for the Digital Edition of ProAudio Review - November 2008

ProAudio Review - November 2008 Contents Technically Speaking First Look 2008 PAR Excellence Awards New Studio Products Studio Sense Review: Solid State Logic Matrix Review: Arsenal Audio by API R24, V14, and R20 Mini-Review Review, Second Opinion, and Benchtest Review: A-Designs HM2EQ HAMMER Review: Sontronics Sigma Phantom Powered Ribbon Microphone Analog In The Studio: Nostalgia Ain’t What It Used To Be New Live Products Worship Audio Review: Community VERIS Series Loudspeakers Installation Profile Single Slice

ProAudio Review - November 2008

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