Chuck wrote:
> Good question considering that the demand is probably mostly
> from old farts such as myself whose hearing is unlikely to be able
> to reach to the lows and highs of their youth.
If only that were true. It's the younger engineers that are spending top
dollar for this stuff. Seriously, when looking for studios to rent, the number
one thing people look for is retro-gear. No studio worth its salt would be
without a Joe Meek Compressor, for example. Very usable? Not really. I have
a Waves Plugin Module in my Yamaha system with a SWEEET optical compressor
algorithm. It works as well as the Meek. But just a touch more difficult to
setup. Of course, the WAVES gear is in a league of it's own, but when you try
to simulate the Meek with other compressors, it's pretty tough. When the
optical compressor algorithms were being developed (sorry, can't reveal just
with which company--extreme NDA), it took us over two years to get one of them
right. The basic coding took only about two man-weeks, the modification of the
variables took the better part of two man-years. At one time, I could name
almost all of the albums which were
mastered on the prototype systems I installed and worked with the mastering
engineers on. Those MEs are a bizaar bunch. We'd tweek and recompile the code
onsite. They'd know if we tried pulling a fast one on them too. There are
"golden ears" and then there are "GOLDEN EARS". Mine, which were VERY good,
were "tin" in comparison.
AG
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