This would be a task for iznogood... I will call him later today!

But I know that he makes a digital loop out of PT and records the input in the end format(fx 24/44.1).
He does this instead of bouncing because of sound quality.

There wouldn't be the big differences in going back in PT or down to DAT(when talking about the same bitrate/samplerate)... unless the ME that's going to do it puts an ADC directly to his DAT. DAT machines has worse Clock/Jitter than fx. a decent soundcart.

The Analog tape solution is something that can be very good for the material or not that good... but that's up to you to deside.

Best Regards,

There is a very simple test you can do to tell if something is different. The Null test. you can take all your versions, line them up exactly, flip the phase and if you hear nothing, then they are Identical. To make this work, you have to mute all your reverbs for this test because they are random and won't be the same from mix to mix.

Remember if you do that test to pull the master fader all the way up, because sometimes the difference is below the normal range.

You can always route your mix to an empty stereo track and record there, if you're worried about "bounce to disk", but in my experience, there is no weirdness with "bounce to disk". Just don't do a convert while bouncing, do a "convert after bouncing" if you need to. Better yet, bounce to the same format as the session, import your bounce, then convert seperately.

"there is no weirdness with "bounce to disk"

no just poorer sound :?

as ammitsbøl said the way to do it is to loop the aes/ebu and record to a new track (muted of course) sounds better than 24bit dat and certainly better than busing inside protools....

remember also always to leave your master fader at zero..... if your mix is to loud pull down your faders... (this is why there is absolutely NO reason to use the +12dB option in protools 6.4)

Sorry, my brother, but you're just as wrong about the bounce to disk as you are right about keeping the master fader at "0".

Just to prove that I am right, I recorded a mix three ways.
1. I bounced to disk.
2. I bused it through the internal bus in PT, and recorded it to a stereo track.
3. I went out through the AES/EBU and back into a stereo track.

Then I opened a new session, imported the three examples. After nudging them a bit to make the start points line up, I threw one of them out of phase. And guess what? Complete silence. Nothing. At. All. Which means that all three are identical, as claimed by digidesign.

Chalk it up to Urban Myth Number 45,257.

My other advice to Dave is to skip the monitoring section if you're going through a cheap (Control 24) console. I run my digi outs 1 and 2 DIRECTLY to my mains and control the volume with a master fader.

I set all my "output 1-2" assignments to go through some internal stereo bus (pick ANY). Then when I "bounce", I go through the bus, but can still control my speaker volume through the master fader on the mains. :wink:

Using a Pro Control

I got a pro control here. I figured there would be no difference but it is good ot hear others experiences.

dave

mixandmaster wrote: Just don't do a convert while bouncing, do a "convert after bouncing" if you need to. Better yet, bounce to the same format as the session, import your bounce, then convert seperately.

So you can actually lose quality by converting during the bounce?

I had no idea. Good info 8-)

im just new on PT and we do it this way
PT out then going to TCfinalyzer(with personal settings) then to DAT and getting the signal from dat(thru patchbays) back to PT then then use the COMPANDER...is that ok?..we do it all types of session...music and tv projects

Two things seem wierd to me about that chain, edboy7.

First, why would you go through the DAT? Why not go from the finalizer directly into PT?

Second, to use a compressor AFTER the finalizer seems strange. I hate the finalizer, but think that it most always logically seem that it should be the LAST unit in your chain.

Are you using your DAT to reclock the signal?
But it doesn't make sence that use patch bays after the DAT... so what do you use the DAT for?

I will also say, but the TC last in the chain(FINAL-izer).

Best Regards,

Ammitsboel wrote: Are you using your DAT to reclock the signal?
But it doesn't make sence that use patch bays after the DAT... so what do you use the DAT for?

Inquiring minds want to know... :wink:

there's no 2 ways about it, give me a 1/2" machine for mixes

mixandmaster wrote: Two things seem wierd to me about that chain, edboy7.

First, why would you go through the DAT? Why not go from the finalizer directly into PT?

Second, to use a compressor AFTER the finalizer seems strange. I hate the finalizer, but think that it most always logically seem that it should be the LAST unit in your chain.

sorry for the delay guys, y is the DAT last? coz before, we used to put all our mix master on dat, maybe that was still 4 years ago when CD-Rs are not yet readily available here :) ..dnt like the finalyzer that much also but with the correct setting..it would do magic on your mixes(did for me)....i guess the my co-engr(whose really the pt guy) does that only for tv mixes(using comp again).
:D