I've no issues with boogie woogie either. it's the combination of that and Jools Holland that bothers me.
I'm still not convinced by your argument re analogue set ups. I appreciate you're not saying they are shit but i'm not really sure where your distinction is. Even in a DAW you're still relying on analogue equipment to get the signal in in the first place and the technology there hasn't really changed THAT much... and by that I mean quite a lot of the chain prior to it hitting the ADCs.
I'm also completely lost with what you mean by mics nowadays being better. Talking drums, i'd always use my sm57 for a snare, and that's far from unusual in the recording industry. I've got a couple of R0de condensers that I would hang over the top as a half-arsed stereo pair but I would swap them for a u87 in a heartbeat. just fucking one of them... I ain't greedy. they are 50s technology and the absolute de facto standard that everything's measured on... and, obviously, like any real high end condenser, you've got an omni pattern available - so "from as many directions" is taken care of.
the only part of the modern digital setup - other than the inbound preamps probably being a bit better and quieter - that gives a bit of an advantage is the recording medium itself. 50s, 60s, 70s stuff was stuck with tape but it ain't anywhere near as bad as you might think and you're only limited by the size of the tape and therefore the manufacturing processes and literal size of the equipment. streaming bits onto a disk is clearly easier and less hassle but you've then got the limitations of your ADCs and the inevitable quantisation effects.
then, of course, you've got your DAW-based digital domain effects, etc. I'll give you reverb on that score because digital reverbs are a lot more versatile, unless you actually want a proper analogue spring reverb effect whereupon i'd prefer the real thing, really. that said, there's obviously advantages of noise floor in the digital domain but there's definitely been quite a trend for years now to break out the outboard signal processors instead, including reverbs, so you're at the mercy of your signal chain as far as noise is concerned.
loud... I don't think it's correct to suggest that stuff can be louder now with digital equipment. 0dB is still 0dB. What we have seen is a massive trend of mastering stuff to have as much perceived loudness as possible and ever more so than the last big thing (the so-called "loudness wars")... but this is more about crushing dynamic range than actually being "louder". There's definitely an emphasis on this in modern recording but you could maybe argue that the 60s and 70s engineers were going all out to get as much dynamic range as possible and could have compressed the fuck out stuff just as much as we do now. I mean, your basic compressor isn't any different now than it was 50 years ago, even in the digital domain.
To clarify, this isn't me getting all defensive - I've got nowt to defend here. I'd say that we both prefer earlier recordings (before the digital revolution and subsequent loudness wars) because there's actually some dynamic range there. at least, even now - and regardless of how it's recorded and processed - a snare drum doesn't sound like the 80s twig snapping anymore.
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