In the favour of plugin proponents, DSP coding and emulations are getting better as time goes on, rendering them highly useable for most purposes. From their end the going argument is that this too has pitfalls, such as too many options and the fact that it promotes over-processing and endless tweaking instead of focusing on getting a good sound from the beginning.
On the other hand, there are many current professionals closer to the cutting edge that use nothing but plugins and hardly ever touch a hardware processor. Many professionals, particularly those with their roots in analogue, claim that plugins come nowhere close to hardware and many detest them. The question is, are plugins as good as hardware? This debate has raged, is raging and will continue to rage in the future with no foreseeable end in sight. We are now in an age where we can have the “sound’ of a Pultec EQP1a or a Fairchild 670 on every track. This has obvious advantages, not least of which they can be applied at the click of a mouse (negating the need to ever touch a cable), and spread across as many tracks as you like. On their own they are merely incoherent collections of data but used within a DAW, they become powerful processing tools the use and instance count of which is only limited to the available processing power of your system.
L2 ULTRAMAXIMIZER ATTEN LEVEL SHOULD BE AT CODE
The digital audio workstation revolutionised the way we work and gave us such things as a non-linear workflow, unlimited track counts, virtually zero signal degradation through generations, low noise floors and, of course, the power of the audio plugin.Īudio plugins are basically DSP code contained within a file that can be hosted in audio application and manipulated via a graphical user interface. It makes the mind boggle that a unit costing R30 000 could only be used once on something as simple as a bass guitar track for the rest of the production.īut then came the move into digital. The thought! However, as simple as that sounds, there were obvious pitfalls to the process, most notably the time it takes to do so and the fact that once it’s plugged in, that was it – the processor was occupied. If you wanted a compressor inserted into an audio chain, you would literally have to plug it in. This is what audio engineers in ages past were used to. Before the digital age that we are now in, audio was a totally different ball game that didn’t boast the streamlined and time-efficient workflow that we now enjoy.Ĭumbersome large format analogue consoles, racks and racks of outboard processing gear, miles and miles of cable, and actual, physical patching.
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