Gentlemen,

No feather ruffleing nah K?
Although I SHOULD HAVE ASKED, I presumed (like a fool)the recording media was mag tape a/o analog circuitry. ie., I quote myself in saying, " Keeping the bias and equalazation in proper tweaking helps tremendously when you are "riding on the cushion"." This obviously refers to mag tape, as there is no stepping bias involved w/DSP.

Smitty threw a dead ringer bullseye about the compression symantics in the nature of analog. Tubes are the extreme example as the electrons are going through vacuum space and hitting the grid, they "pile up on each other" creating the resulted sonic. The characteristic is not limited to only tubes though. When audio signal has capacitence applied to it electrolytically (whoa, I musta misspelled that?) it gets colored with a transient dynamic effect. ie. the punchy sound of a mediocre car power amp. You see? and those yunkers ain't got no toobs! As Back Asswards that it may seem gentlemen, the WTG is 'that danger zone' as far as drum tracks go. MOF, the sonic difference is phenom better than a perfect "text book" digital capture of the same signal! We are the ones with the trained ears, listen to that difference. Digital is a completely different animal. Like Smitty said, in order to achieve those sounds we have been used to hearing with 'big 'n hard' equipment, a texuring need be applied. This is done alogrithmically by a method known as fast fourier transformation or FFT. I do FFT's at work a lot, but let me tell you, when I went to school back in the 80's we had to use a calculator...ugh, not a good memory that is.