@Renoised: I'll take that to heart, but for now I've got to focus on other things first before I delve into that territory..I also think it can be a bit dangerous. Nowadays, especially in electronic music, people get so obsessive about mastering, eqing, compression etc...and they do so for the wrong reasons, imo. It's a "shine the turd!"-kinda thing most of the time, you know what I mean? You listen to their music, yeah, it's crafted well and "technically" well done, but it's got no soul. It's just mindless crap. Lots of music out there is like that now.
I also don't like the sound quality, really. Maybe it's those Native Instruments plugins or whatever (not shi**ing on them, Reaktor etc. is the bomb), but it sounds really plastic to me. And not even in a good, Squarepusher kind of way, because his stuff from back then was digital, too...But something "bad" (to my ears at least) is happening there.
For now, what I'm mostly concentrating on is planning out song structures in my head and writing them down, playing reverse soloes over some of my riffs, trying to find some of my own licks in there etc etc...Really getting away a little from the way my brain works when I'm programming. So I'm not that concentrated on production techniques right now, I just really gotta get my guitar playing in order first. The simplicity of the 4-track lets me do that and I don't get drowned in unnecessary details having to do with its architecture.
Isn't cassette coming back, though? I've heard something like that, I think my mother told me something about that (and if she hears about stuff like that, then it must have been emerging on the surface already)
The gear I mentioned is pretty essential stuff to be honest mate, and I don't just mean for polishing a track (and sure, you need not do that), but I mean it's important for getting the individual tracks down in the first place, in a good quality way. For example, an analogue compressor is very important because you're working with tape. Using a compressor properly would, for example, allow you to switch-off noise reduction and saturate the tape much harder, while at the same time, surpressing hiss more than the noise reduction system alone would. It's a dynamics processor, and what most people playing with this stuff don't realise is that Dolby and dbx are basically a type of dynamic compressor. So it's an important thing to have when you work with tape. Well ok not "essential", but you know what I mean, it's a very good thing.
Notice in that video above he says that his machine is no good for dance music or whatever, but that's nonsense. It's good for whatever you want as long as you have the necessary equipment attached to it. You could record an entire classical piece on that thing if you had the gear I'm telling you about, you'd be able to hear the most distant instrument without even a hint of hiss. You might think, nah, I'm really really really old-school, they never bothered with compressors on those early recordings, but actually they did, even without a compressor attached to it, cause the noise reduction systems themselves are a type of compressor.
A Parametric EQ where each band can sweep the full frequency range, is the most important peice of studio outboard equipment you can buy. Again, it's not just used for polishing a track, it's a tool that can, for example, change a very plain violin to a very hauntung one. It can change your guitar to one completely unrecognisable, compared to what you normally get from it, like picking up a different guitar with different properties. Don't assume that a proper analogue parametric EQ sounds or even behaves like a digital one, because it doesn't, and you'll be in for quite a shock if you ever use a real one (especially a good one). The best way to be convinced is to forget about the price, and just visit a music store that has one and allows you to feed some of your own music into it while you tweak the knobs. It'll take less than ten seconds for you to say - FFFFFFUCK!!!
Like I said, once people are exposed to that specific type of EQ, one with full-range sweeping and plenty of gain, nothing less will do, and because they're such expensive studio tools, people often end-up having to build their own (which isn't actually that hard). It's not possible to use one and not end up with one, they're that good.
The Sonic Exciter is also a "secret weapon". Again, it being analogue means it behaves and impresses much differently to digital efforts, and what's cool about the SX3040 is it's analogue, stereo, and combines both a bass enhancer and exciter in a single unit. The Behringer sounds better than stuff that costs six times as much. These devices are usualy mono, but due to the SX3040 being stereo, you get to use it for spatial type effects as well as adding incredible fatness to bass, and crazy amounts of air to vocals, pads, string, guitar etc. You know when people say stuff like "It makes the hairs on the back of my neck stand on end?"
Well that's what the SX3040 does, completely in analogue, it's a magic box, the type of stuff the big studios used to use when people wondered why there own stuff never sounded as good. A lot of it is down to those types of devices, exciters, enhancers etc, and the Behringer does that all in one unit (in stereo). I can tell you now, putting that Summer Affair track though it the other day did exactly that, the guitar gave me goosebumps. It sounds awesome enough without it, but completely mind-blowing with it.
So I hear you, and it's cool to hear you'll consider them, but just be sure you actually do some day, because there is no going back once you do
As for cassette coming back, sure it's coming back, although I have no idea when it will kick-in in a major way. Actually though, cassette never left us, nor did vinyl, both have been in production since their invention. Neither of those formats can ever be killed-off, because they're analogue, meaning it'll always be open to even the indie and boutique manufacturers to manufacture both the machines and the media they require. There is no dependence on any one company, cause no company owns either of those formats, and can never do so. It's an awsome thing, freedom!
Yup, both formats will still be around when every one of us are long dead, enjoying our sex-orgies in Hell
Edited by Renoised, 16 February 2018 - 00:13.