Owners of such processors generally like to keep them safe in a studio rack environment.īeyond their own hardware innovations, UA have of course pioneered the software emulation of analog gear with their UAD plugin platform which covers a huge range of classic devices from dozens of popular brands. We would be highly surprised however to find one in a live touring rig given the high price and fragile vintage-style construction (we’re talking hand wired valve based T4 electro-optical circuitry). You will generally find one or two of these in serious recording studio as it is considered the ultimate vocal compressor, with a range of tasty stereo applications. Take for example the classic LA-2A leveling amplifier, designed by Teletronix who were acquired by Bill Putnam’s company ‘Studio Electronics’ in 1967. This being the case, the preferred way to approach live sound mixing in terms of both technique and gear is drastically different to that of studio recording. In a live sound environment, there is one take. In a recording studio, individual elements can be laboured over during both tracking and mixing until the desired results are reached. Terms like overdubbing and post-production are of little significance in the live audio world.
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