@mijostyn it depends on what you’re trying to accomplish. Digital can never compete with analog for example in lifting treble air bands to give life to a dull recording. Ask any studio engineer. Read online if you don’t believe me. Now, if you are not tone shaping but instead attempting room correction EQ then yes, digital is better. I think to generalize, for surgical cutting digital is easily superior. Again, it depends on what you are trying to do. I only use EQ to spice up a dull recording. That means high end tone shaping. That means bass and or treble lifts. In this context analog wins EVERY TIME.
Equalizer in a Hi Fi system
Just curious to hear everyone’s opinions on using an equalizer in a high end hi fi system. Was at work tonight and killing time and came across a Schitt Loki max $1500 Equalizer with some very good reviews. What are some of the pros / Benefits and cons in using one. Just curious. BTW. I’m talking about a top of the line. Hi end equalizer. Mostly to calm some high frequencies and some bad recordings.
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@akgwhiz i agree |
Tone shaping? tl anything, and I mean anything you try to do analog I can do digitally better. All I have to do is look at the amplitude curve you prefer and I can mimic it exactly with less distortion. I can store it in a preset and punch it in whenever I want to tone shape. I can set up an equalizer with as many stations as I please and have a different Q at each station. I can make you a tone shaping slider and you can shape yourself silly. The possibilities are endless. Analog is extremely limited in comparison. |
@mijostyn , as the old saying goes you and I will have to agree to disagree. I am always (it’s my sub hobby) comparing digital implementations for tone shaping to high end analog for tone control. There’s simply not enough headroom with digital for a bass or treble boost without having to cut master gain. Which always KILLS dynamics and imaging on EVERY digital implementation I’ve tried. In other words, digital clipping sets in far more quickly than analog clipping or distortion. Finally, high frequency boosts have less natural effect on cymbals than analog. Listen, if I’m observing the same thing in post production that the engineers observe in mastering, well then… |
Digital for treble tonal boost is awful. The fact that no one in the world other than 2 of us here on this stream use high end pro analog hardware EQ in post production is why everyone is afraid of treble. Few know what a beautiful thing it can be to use a quality analog air band to open up a recording on hi fi gear. and no, the Loki can’t do this very well. |
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