Eddie Kramer's marriage of analog & digital recording

The veteran rock engineer says in the current issue of Music & Musicians magazine that he gets the best of both the analog and digital realms by recording in analog, transferring to digital using "a specific type of analog-to-digital converter made by Burl." It allows him to work on the music digitally "without losing that cool analog sound". He mixes down to analog. So, I'm wondering what recent recordings this process could be heard on?

 

I'd like to know too.

 

Sounds interesting I wonder what Eddie has up his sleeve?

I'm planning a project soon that will be analog but I will also record digitally as well. Will be neat to compare the end results

 

So...it's ADA ?

Yeah..I'm wondering if he's including old stuff...or just new recordings.

 

No news!!!! But nice he beings to be a little more forthcoming on the issue.

Try Berkeley, Miami, Monterey ........................... just a start for you.

and as a follow up try CoL and RB.

Feel free to add to this folks

 

Makes a lot of sense to me. IMO a good portion of the analog "magic" is in that wonderful tape compression that you really can't get any other way.

 

What does this mean, please?

 

I own and use a Burl ADC.

What is it you'd like to know?

 

He does say he's using a "specific type of Burl" so I'd imagine it's a pretty souped up, pro model, maybe custom-created? But, my real question is, what recordings of his would we be able to hear with this gear?

 

Burl only makes one converter. Actually, they make two--a multichannel version (mothership) and the actual prototype stereo Bomber B2. For discussion purposes it's the same ADC. I'm pretty sure I use the "souped up pro model"! Ha. Burl is a small company. They make a boutique product....that is not unlike JCF--the idea that tape is not what made the sound people loved, but the line amps that fed the tape. TAPE itself is the PROBLEM to be solved. Anyone who spent any amount of time engineering on tape will back that up. Anyway--the better sounding tape machines had class A transformer line amps on the inputs--those two companies, and likely others, have married high rez digital PCM converters to old school class A transformer line amps.

He made the 2192 for Universal Audio (the thing that Neil Young has a fridge full of) before leaving to start Burl Audio. Engineers have sworn by them for more than a decade for being the most "natural" "tape like" ADC around.

But, I don't even know what Kramer does anymore other than sell gear.

 

No news [to me] as I was aware of his use of digital in the chain from tape to vinyl.
though ever so pleased he discusses this in an interview which I must read if I can grab a copy of the mag in question. Thanks to RickH for the initial post.

 

Marl Knopfler has a Neve 88 desk and pro tools
He also has 6 x Studer 800 2" 24 tracks.......

 

Are these albums you mentioned or just American cities?

 

The first 3 are live albums released under various names ("Jimi Plays Berkeley") etc.

The latter two are Cry of Love and Rainbow Bridge.

All by Hendrix

 

I think -but I'm probably wrong anyway- that "Interlude" by Jamie Cullum was recorded that way.

 

Unless there's some magic here that I'm not hip to, engineers have been doing this for nearly as long as digital has been around. The options and methods for either recording analog and then taking into PT or whatever DAW, or alternately tracking to the DAW then summing or mixing analog, are quite numerous.

 

Agree but it is the end result that counts. Kramer [others? Please list] has been doing such a great job of late its tough to tell in a couple of instances just what or rather where the audio has been exactly on it's journey to vinyl from the original tape recording.