while tracking or mixing, do most of you use the onboard compression and EQ? I was kind of curious about some of the gear everyone uses and how the onboard processing measures up to other brand name gear. Quincy

Speaking for everyone ...

...Just kidding: Really, it doesn't matter how good the DA7s processing is. Different tools will give different effects. You don't have to use outboard gear to make a good recording, but using different mic pres, compressors, or even analog EQs will give you a different flavor that someone who doesn't have those tools. I think it's a good idea to use outboard gear - when there's a call for it.

Let me chime in on this one. My first recordings with the DA7 were disappointing.
It took some time to get used to digital EQ.
Then it took a while to relize that the pre's don't have much life to them. Also the compressors i'm just now getting good at useing them. My solution? I invetsed in some great
outboard pre's, compressors, and EQ's. I personaly view the DA7's strong points being the recall and automation. I'm not to keen on the pre's or EQ. There ok. They sound good but are lacking in detail and character.
It's a different ball game with a digital board. You have to get the sound to tape(hard disc) as close as possible as you would like to hear it...

The EQ's, Micpres, and Comps in the DA7 are quite useful and very musical once you learn how to work with them.

The comp/limiters are simular to the DBX 160's when you slow down their (the DA7's) attack and release times.

I haven't used my outboard eq's or comp/limiters since owning my DA7. They were never that good to begin with and the DA7 revealed all of their weakness.

I would go up to EQ's website and ask Craig Anderton his thought's on the subject, he's very knowledgeable and informative, and yes he owns a DA7.

Man, if you're recording radio oriented rock and roll, I think you can get most of what you need out of the da7, i.e., if you go in to the right mic with character. You and the mastering lab are going to squarish, effect, and EQ the crud out of things anyway into something that will hardly resemble the original sound you recorded as you start layering and folding things into the mix.

Of course, there is a difference between Whitney and Fast Ball or the Wallflowers. But, I really don't think using an outboard pre or compressor is going to make or break a great performance and a reasonably well recorded track using the da7.

Now let's see if I can get off this soapbox without hurting myself.

I'll say that I've really enjoyed the on board stuff that comes with the DA7. I personally like the pre's(and if you buy an outboard pre it's still going to have to go through the DA7 pre anyways) I'll agree that it is taking some time to really get what I want out of the eq. It's pretty different than what I'm used to. If you're on a budget, put your money into great mics! This board will do the rest for now!

Clegs said it. outboard gear is not going to make or break a great performance. the DA7 sounds great for what it is and and good engineer should be able to make a good sounding recording using it's onboard features. However, I'm an analog fan and the sounds and textures that you can get using analog gear are not possible to get using the DA7 or any other digital gear.
Sorry to disagree Leslie but I just bought a pair of DBX 160x and the DA7 comps come no where near in comparison. Maybe they do if your trying to lightly compress a track but the "sought after" character of the 160's comes from when your smashing the track in heavy compression and they become angry sounding.
I also must say that lately I've been recording to a 2" 16 track machine and the sound absolutly blows 24 bit digital off the planet. It makes a much bigger differance in the sound than any pre or compressor I've encountered. If you really want a good sound, get a tape machine
electrok

What did you pay for the 2" 16 track machine? I did'nt know there was such an animal. I agree that anaologe compressors give the track a certian sound that digital compressors don't. I think the DA7's compressors do a good job as a dynamic's controler but lack any character. I've only had the DBX 1066 and 1046 anaologe compressors until the Focusrite Platinum series came out. Sonicly there better, and they are good at giving the track a punchy sound. I also agree that performance is more important than sonic's. After all it's about
the people. However, put the 2 together, a great sound and a great performance, it's majic. Even if you have a great performance,
if the sound does'nt reach out and grab you, it has less of chance to make it. The sound i'm getting now with the outboard gear is the best i've ever heard on any recording.
Way better than when I first started useing the DA7. It's not because of me, it's great electronic's. I'm just blown away. The transparency is trippy. It;s like I can reach out and touch the instruments in the monitors. Gotta love those Japanese and English electronics blokes ehhh?

Jeremy, 2" 16 track was around before 2" 24 track... late 60s!! The 16 track spacing is identical to a 1/4" 2-track machine while the 24-track is, obviously, narrower and tighter spacing.

I use to take (2) 16-track machines at 30ips and sync them together for a total of 30 tracks... you lose 1 per machine for time code. Running the tape at an elevated level of +6 or higher, we'd have a s/n ratio of almost 75-80dB with our Studer multi-tracks. Needless to say the sound was huge!!

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ERIC SEABERG • San Diego, CA
eseaberg@turningpt.org

[This message has been edited by Eric Seaberg (edited 07-13-2000).]

I picked mine up for 3.5k that was a fairly good deal. most of the time they are in the 5-8k range. Amazingly less than the cost of 20bit ADATs and a BRC. I run mine at 15ips +9 and there is no noise. Still I hit it hard so most likely I'm hitting it at +12 or higher, for rock and roll this sounds gigantic.
BTW mine was made in 1985. They stopped making 16's around that time.
People are dumping tape machines in favor of digital hard disc at the present time so they are cheap. Funny, the same thing happend to those old 'worthless" Neve consoles when the SSL came out. People dumped their Neves for pennies. Then when they rediscovered that the neve sounded so much better than the SSL and all it's bells and whistles the Neves skyrocketed. I wonder if this will happen to tape machines?
electrok