Well if the sound of tape really gets the old trouser snake twitching the best thing to do would be to record into Pro Tools at 96k (or higher), edit as you go then bounce to 2", so you are capturing the harmonics and squashing down everything above 20k, because in effect thats what tape does, as well as compress. It does pull everything together within a certain spectrum, secondry harmonics and all that bollocks. If you use that for "your sound" then I guess you would miss it, if I was doing more straight ahead rock stuff, yeah I could see its purpose. Then again, things like the Crane Song spider have a tape saturation emulator, which is subtle, but is pretty cool, and I'm definately digging it now I'm mixing. The whole "digital/analogue" arguement is a well vented debate by now, and one that doesn't hold as much weight now technology is getting better by the day.
OSX no optimising eh....mr Norton's still doing good business on my machines, my lap top was severe the otherday, seems to be running better now, though it's kinda like when you clean your car and it runs better haha.
