This is not so uncommon. There are a LOT of the larger studios that have analog chains..
One thing that caught my ear so to speak was the statement that "when digital files get sent in". Hmmmmmm.... so the digital files are going through a D/A process and then A/D process.... when they get sent to the mastering engineer, it goes through the same process again... D/A and A/D...
I agree. I found it interesting, since it is John Wood who has engineered many classic albums and he independently funded this analog studio last year.
Maybe I misinterpreted, but it sounds like he is converting digital mutli-tracks sent to him to analog tape and mixing in analog for the "analog magic"
I agree. I found it interesting, since it is John Wood who has engineered many classic albums and he independently funded this analog studio last year.
Maybe I misinterpreted, but it sounds like he is converting digital mutli-tracks sent to him to analog tape and mixing in analog for the "analog magic"
As do I sometimes. Adding a "tape layback" sometimes adds the magic needed to a digital file. Then it goes back into the digital domain to be sent to the mastering engineer. If he sends a tape to the mastering engineer... all the better. Then it will go back into the digital domain for distribution via CD or download.
There are a couple of things that caught my eye. First is the mention of mixing in a box. Mixing without a good interface is definitely no fun. Hard to come up with something that sounds good if you can't get a smooth work flow. Second is his comment on plug-ins. I agree that there are too many outboard devices that have no software equivalent. This IME extends to EQ as well, like tubes in guitar amps, some EQs add color that is creatively desirable in given situations that digital EQ doesn't give you. Mixing is a creative process after all and the man has chosen his medium and color palette. I'm really happy for him if a bit envious. Mixing is my audio "True Love".