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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.Each 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.
Pro Tools (then called Sound Tools) was in its infancy, but worked very well for two-track editing.
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.
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.
So, how do we know when the analog machine will add just the right amount of punch, warmth, fuzziness or just plain magic to our drums, vocals, guitar, bass?
Recently, I worked on a project that was recorded at a few different world-class studios, using both analog and digital recorders and used the experience to document some notable differences in the sonics of each recording format.
Recording artists like Lenny Kravitz led the way to digital, and then reverted back to analog, showing us the extremes of each medium.