Ralph,
Are you familiar with the many tube saturation devices in the Pro Audio world? These devices are design with just this purpose in mind. Beyond changing the tube saturation/distortion characteristics there are devices in the Studio world that go far beyond what is possible in the audiophile world.
It was my understanding that on top of being an audio designer you are also a musician so you should be familiar with devices like SPLs Machine Head which let you change tube saturation and distortion characteristics in the digital domain. These are convolution devices but many devices are analog and work of the tubes originals saturation/distortion characteristics.
By the way, my experience and the experience of others that have opened up Cello equipment concurs with yours; they were over-priced boutique pieces which did not reflect their asking price. What I was simply trying to do was to show Ryan that although I do not make use of graphic equalizers many mastering luminaries do use them.
The top equalizers that I would recommend are: SPL PQ Mastering edition, Avalon AD-2077 and GML GM-9500 try to tell me that any of those mastering "parametric" equalizers are junk. I personally prefer psychoacoustic equalizers which is a different branch of sound processors.
Your approach of taking the tube variable out of the equation is the correct approach as your design should try to minimize the effects of different "vintage" tubes as much as it is possible.
Are you familiar with the many tube saturation devices in the Pro Audio world? These devices are design with just this purpose in mind. Beyond changing the tube saturation/distortion characteristics there are devices in the Studio world that go far beyond what is possible in the audiophile world.
It was my understanding that on top of being an audio designer you are also a musician so you should be familiar with devices like SPLs Machine Head which let you change tube saturation and distortion characteristics in the digital domain. These are convolution devices but many devices are analog and work of the tubes originals saturation/distortion characteristics.
By the way, my experience and the experience of others that have opened up Cello equipment concurs with yours; they were over-priced boutique pieces which did not reflect their asking price. What I was simply trying to do was to show Ryan that although I do not make use of graphic equalizers many mastering luminaries do use them.
The top equalizers that I would recommend are: SPL PQ Mastering edition, Avalon AD-2077 and GML GM-9500 try to tell me that any of those mastering "parametric" equalizers are junk. I personally prefer psychoacoustic equalizers which is a different branch of sound processors.
Your approach of taking the tube variable out of the equation is the correct approach as your design should try to minimize the effects of different "vintage" tubes as much as it is possible.