One of the major problems in digital recording is the inherent lack of compression. Unlike in the analog 2" days, the signals get some nice compression even when you slam the VU meters quite hard. By simply looking at the waveforms when encoding analog tracks to digital, you would see that the waveforms are more consistent.
So now, what if you want to emulate analog using digital? Mic preamps play a major role. Solidstate or tube, is a matter of preference. But I seem to like transformer-based designs regardless if it is tube or not. But at the end of the day, you would always long for an OUTBOARD COMPRESSOR that you can use through your mic preamp inserts to emulate that compression you get from tape. But not all compressors are made alike. The best ones as the pro's recommend would be the UREI 1176, Teletronix LA-2A, UA LA-2A, Empirical Labs Distressor, and a whole lot of others that can cost the average pinoy recordist an arm and a leg.
So now, why do you need an outboard compressor for tracking? (As in, every track through your DAW analog inputs).
1. Digital farts out so easily when it hits 0dBFS. Maybe some might agree that setting your mic pre master level to a minimum would help. Not really. As you set your mic pre low, the "tails" in the tracks (I mean, like those reverb tails) you record start to lose detail. The solution is compressing in soft-knee while tracking to add more definition to the tails at the with no peaking same time .
2. Compression plugins
can help, but all they do is work within the limits of your SNR (signal-to-noise ratio) of your DAW. So it is possible that your signal during tracking farts out, and then, your RTAS and VST compression plugins would make the farts more prominent.
3. When done right, compression can make your sounds so fat even with a decent mic preamp. I swear how my dbx 128 can make my ART Dual MP and Aphex 107 sound like a dream.
4. If your outboard compressor can be set as a "compander" (compressor + expander; much like a compressor and a noise gate that doesn't "shut off" easily), you can isolate drum sounds much better. Problems with toms picking up the crash cymbals? Use a compander.
5. Outboard compressors can add a lot of punch to drums especially the KICK and TOMS that no plug-in can do so easily.
6. Outboard compressors (most of them) are analog circuits. What can beat processing sounds in real time in the analog domain?
7. Outboard compressors are best for the master 2-bus to "emulate" mastering so you can judge if your mixes are right. Unlike plugins, especially with those who bounce internally, there can be unwanted peaking hence it would be too late to slam it to a compressor when mastering.
