I use Nuendo and just record the mixdown alongside the raw tracks at 24bit 48k. If I need a CD I just export from Nuendo with the UV22 plugin. As soon as I get my Studer B67 working I'll be mixing my stuff down to 1/4" analog.
I use a Studer A80 1/2" deck. I try to make a CD of the mixes also, before the 1/2" deck. This is what I'll use to make copies for the band to go home with. The 1/2" gets sent to mastering. I also try to print other versions into Pro Tools (instrumental, etc.) as well as stem mixes.
to answer your 1st question, i mix analog with all sorts of weird fx (guitar pedals, lp filters, tube amps, etc-reamp is the best piece of gear) so digital is just not an option for me. to answer your second question, i record everything at the best possible resolution when I track and I just record the mixdown as 2 more tracks within the project, so it has to be the same 24/48. Everything is going to be mastered
anyway so why do the 44.1k thing now? Let the mastering house do their job with the best possible sound: a wave file burned on a CD. Every respectable mastering house should be able to read this. Can't wait to get a set of 96 or 192 converters. Then the hi res fun begins.
I do a similar thing,but put the tracks into recorded submixes so it all ends up in the computer,then i mixdown.
I just had a thought, maybe i could go out of the spdif on the soundcard,then back into the spdif on the same card and keep it in the digital domain to create a stereo master.
and capturing the (analog mix) at 96k or 88.1 then doing an SRC down to 16bit 44.1 (or taking it to mastering, lets keep that old argument outa this (Yawn!) ok Brad? ;) )
I dig the raw unmessed with mix back to my DAW... it allows me scope for mastering later...
John have you tried that digital loop yet? Sounds a good idea - DONT FORGET to mute the OUTPUTS of the record track!!!! (if you dont want your tweeters buried in the back of your head...skreeeech!) :tu:
I'm mixing to a Studer A80MkII 1/4" deck and/or digital at 20bit 44.1 through a Mytek A/D. The Studer is set up for 456 and SM911 at 15ips, 3dB overbias at 10khz.
Mix (Sony DMX R-100) to Masterlink and Tascam DA98HR (safety) both at 24/48. The Masterlink does a good enough conversion from 24/48 to Redbook CD for mix evaluation outside of the studio.
Conversion from 24/48 to 16/44.1 happens at mastering via Prism D/A converters to the analog goodies then back via Prism A/D converters at 16/44.1 into Sonic.
Jules, how would I record my mix back into Pro Tools instead of bouncing to disk (The digital loop you mentioned)? Is this better than bouncing to disk? Thanks.
I'll be trying it later tonight(spdif loop)after i get over my ADAM monitoring experience!
I've been to the uk distributer for ADAM today and they kindly let me sit for a few hours listening to the p11s,p22s.S1 and S2.One thing that struck me was how my own mixes sounded ok through the p11s(not good just ok),but through the S2s they sounded quite naff.All the pro band CDs sound phenomenal through the S2s.
Comments
I use Nuendo and just record the mixdown alongside the raw track
I use Nuendo and just record the mixdown alongside the raw tracks at 24bit 48k. If I need a CD I just export from Nuendo with the UV22 plugin. As soon as I get my Studer B67 working I'll be mixing my stuff down to 1/4" analog.
I use an Alesis Masterlink and burn both 24bit and 16bit CDs.
I use an Alesis Masterlink and burn both 24bit and 16bit CDs.
Scott
inflatable pig i was curious why you don't export all the tracks
inflatable pig i was curious why you don't export all the tracks within Nuendo in the first instance and why you mix to 24bit/48Khz first.
John
I use a Studer A80 1/2" deck. I try to make a CD of the mixes a
I use a Studer A80 1/2" deck. I try to make a CD of the mixes also, before the 1/2" deck. This is what I'll use to make copies for the band to go home with. The 1/2" gets sent to mastering. I also try to print other versions into Pro Tools (instrumental, etc.) as well as stem mixes.
john: to answer your 1st question, i mix analog with all sorts
john:
to answer your 1st question, i mix analog with all sorts of weird fx (guitar pedals, lp filters, tube amps, etc-reamp is the best piece of gear) so digital is just not an option for me. to answer your second question, i record everything at the best possible resolution when I track and I just record the mixdown as 2 more tracks within the project, so it has to be the same 24/48. Everything is going to be mastered
anyway so why do the 44.1k thing now? Let the mastering house do their job with the best possible sound: a wave file burned on a CD. Every respectable mastering house should be able to read this. Can't wait to get a set of 96 or 192 converters. Then the hi res fun begins.
ok inflatable pig i got ya. I do a similar thing,but put the tr
ok inflatable pig i got ya.
I do a similar thing,but put the tracks into recorded submixes so it all ends up in the computer,then i mixdown.
I just had a thought, maybe i could go out of the spdif on the soundcard,then back into the spdif on the same card and keep it in the digital domain to create a stereo master.
John
Back into PT at 44,1 24 bit Use plugins to master with then
Back into PT at 44,1 24 bit
Use plugins to master with then
out from there to Masterink
This avoids the 'Bounce To Disc' function in PT
I can do it mant ways...
I mean to try PT sessions at 48k
and capturing the (analog mix) at 96k or 88.1 then doing an SRC down to 16bit 44.1 (or taking it to mastering, lets keep that old argument outa this (Yawn!) ok Brad? ;) )
I dig the raw unmessed with mix back to my DAW... it allows me scope for mastering later...
John have you tried that digital loop yet? Sounds a good idea - DONT FORGET to mute the OUTPUTS of the record track!!!! (if you dont want your tweeters buried in the back of your head...skreeeech!) :tu:
I'm mixing to a Studer A80MkII 1/4" deck and/or digital at 20bit
I'm mixing to a Studer A80MkII 1/4" deck and/or digital at 20bit 44.1 through a Mytek A/D. The Studer is set up for 456 and SM911 at 15ips, 3dB overbias at 10khz.
Mix (Sony DMX R-100) to Masterlink and Tascam DA98HR (safety) bo
Mix (Sony DMX R-100) to Masterlink and Tascam DA98HR (safety) both at 24/48. The Masterlink does a good enough conversion from 24/48 to Redbook CD for mix evaluation outside of the studio.
Conversion from 24/48 to 16/44.1 happens at mastering via Prism D/A converters to the analog goodies then back via Prism A/D converters at 16/44.1 into Sonic.
Jules, how would I record my mix back into Pro Tools instead of
Jules, how would I record my mix back into Pro Tools instead of bouncing to disk (The digital loop you mentioned)? Is this better than bouncing to disk? Thanks.
....
....
Hi Jules I'll be trying it later tonight(spdif loop)after i get
Hi Jules
I'll be trying it later tonight(spdif loop)after i get over my ADAM monitoring experience!
I've been to the uk distributer for ADAM today and they kindly let me sit for a few hours listening to the p11s,p22s.S1 and S2.One thing that struck me was how my own mixes sounded ok through the p11s(not good just ok),but through the S2s they sounded quite naff.All the pro band CDs sound phenomenal through the S2s.
John