Check the info on our engineers - they're the best!
JellyJam’s technical aspect has a simple philosophy - Analogue sound, digital freedom. We have married the best analogue equipment on the planet to cutting edge digital systems. Our front end mic pre's have either AMS Neve or UA stamped on them, that means that there is no difference between us and the likes of Abbey Road and Air Studios! Once we have captured the analogue sound it is converted to digital by Apogee converters, people say they “sound like Hollywood.”
Once in digital format we really start having fun. The studio’s digital nervous system has a MADI spinal cord. Everything to everything routing is just one of the advantages, we can put a signal through an analogue AMS Neve compressor then digitally into any or all of the engines in our Lexicon 960L, our TC M6000 and even then into our four Eventide H8000’s if you like! This is all done within the software so if you want a vintage Universal Audio LA2A compressor instead of the Neve (or even both of them at the same time) we just have to click a button. The signal then flows through fibre optic motorways until the ADA converter sends it on its way down solid silver cable through any of the gear in our analogue rack and back again!
That is a very difficult question to answer as we have never reached it! We use our Yamaha DM2000 as a routing device and as a Nuendo control surface which means that the engineer has fader control of literally hundreds and hundreds of tracks. The tracks can then be assigned plug-ins from either our 4 UAD Ultra cards, our 2 Power Core fire wires, our Waves platinum bundle, our URS everything bundle . . . the list is endless.
The answer is that the only sacrifices made have been our bank manager’s happiness, the time spent away from loved ones and the blood, sweat and tears that have gone into this system. We record at 96kbps 24 bit. For people who are now thinking about clichés to do with cymbals and dogs, here is why we record at this resolution. We all agree that nothing sounds as good as an analogue source. Analogue is only limited by the neural synapse latency in our own brains (in other words the amount of audio data that our brains process per second) which is a high sample rate believe me! No one can deny that the editing capabilities of digital recording equipment are unparalleled.
Here at JellyJam we wanted the best of both worlds. We took advice from people like Bob Katz and Daniel Weiss and settled on the number 96. Our system samples 96000 bits of information per second. Although there are higher sample rate systems out there we believe that you should maintain the highest sample rate possible for as long as possible, not going up and down to incorporate external effects processors for example. In our signal chain the sample rate only changes at the end of the process when a CD master is being written and that process is performed by the most mathematically accurate sample rate converter available. In other words JellyJam is an analogue sounding digital studio. Don’t believe us? Contact us and come down, we will prove it to you!
Greg Burnell
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