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Dave McNair 20 August 2001

I know this question has come up before, but I was curious as to what format everbody is mixing to, and why. Thanks.

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anonymous Mon, 08/20/2001 - 07:44

PC with an Aardvark LX6 audio interface. Fits the budget and the converters are decent for the money. At least I know the clock is stable. Usually at 44.1 / 24 bit for processing without rate conversion since my projects don't see a mastering house. Though I have done a couple 24/96 cuts and it does sound better.

anonymous Tue, 08/21/2001 - 07:02

Sadly, most of the stuff I do is in the demo/bottom feeder category- mixed down to DAT (DA30II), and burned to CDR, which the bands take home and burn copies of on their home computers. I also have a Tascam BR20 (1/4"), which I run 15ips +6 with 456- which I STRONGLY encourage as a mix format to my clients planning on paying for mastering (which I also encourage).
I only use 456 because that's what the studio owner has a box of- as soon as I burn it up, I'm planning on experimenting with some other formulations. I'd like to try 900 or GP9, but I'm not sure the record amplifiers can drive the tape enough to make use of the extra headroom (my MS16 is like that). Anybody used 911 for 1/4" mixdown?

anonymous Tue, 08/21/2001 - 08:05

Originally posted by drumsound:
1/4" Tascam ATR60 +3/250nWb 30 ips 3M 996 or GP9.

Maybe I'm missing something, I don't know.

Why are you running your elevated level tapes at such a low level. They are both +6/250nWb tapes, seems like a waste to run it 3db below recommended operating level. Is it because the Tascam doesn't have the poop to run those tapes properly?

audiowkstation Tue, 08/21/2001 - 13:42

I do it several ways depending on the attitude I want in the song.

All the ways are open...and I do have favorites..

1. XLR out premaster fader level(console)to a vacuum tube home-made balanced input line preamp...then out, balanced and unbalanced (switchable) of it to impedance matching to a 3340, a SV3700 (with upgraded bypassed analog in)..to the input of a CDR870, from it's outputs (updated with HDCD processors)in digital to the digidesign card to the hard drive...can burn a CD at the same time real time...for another backup. Hi Fi vcr also runs for referencing on another system.

2. Strait XLR out from the console to the A/D to the hard drive. Quick clean effecient.

3. Total DAW mix.

Any mix can be bused to do it either of these ways are all 3.

It is a matter of vibe and personal preference depending on the music and results anticipated.

Their is no one set way to do it and a combination of all of this can work as well...but simplicity yields great results most often.

Dave McNair Tue, 08/21/2001 - 15:07

Mark,
+3>250 ain't exactly low level. Sure I use +6>250 on the multitrack sometimes, but even if the tape is designed to take it, doesn't mean you should do it. I like goin' hot on the multi, cause I can print percussive stuff light, and RMS stuff at zero. If you are setting up to print to 2 track, the whole mix is gonna slam to 0 VU. And for moi, too much tape compression if it's set for +6>250. And I happen to think most of the hi level tapes are quieter at the same level as say 456, so I'm already ahead to begin with.
Another fine point I could bring up, is the S/N of the tape deck itself. Most decks have relatively noisy rec/repro amps. Some don't. Another way of saying things is, an ATR-124 or 102 is quieter running at 250nwb/m, than almost anything else running at +3>250. So I guess what I'm saying is experiment with as many different tape types and levels as you can, on the decks you use most often, and you will have more creative ammo to use on deciding the best tape variables on a given project.
I'm not even gonna talk about 15 vs 30. Mixerman? Mark P? Bueller?

drumsound Tue, 08/21/2001 - 22:01

Originally posted by mp@soundtechrecording.com:

Maybe I'm missing something, I don't know.

Why are you running your elevated level tapes at such a low level. They are both +6/250nWb tapes, seems like a waste to run it 3db below recommended operating level. Is it because the Tascam doesn't have the poop to run those tapes properly?

Mark,
My tech suggested +3 for a little more head room and "experiment space." As I understand it +3/250 is also +6/185 with 185=0VU. Though now that the question has been asked, I may just re-cal for +6/250. Thank you for making me think to try. And I am not being sarcastic, thanks.

anonymous Wed, 08/22/2001 - 04:52

Originally posted by Austin Hudley:
I will be mixing a project from DA-88's(44.1)transfered analogy to a Tascam MX 2424
through
a Trident 80C to an Ampex ATR 102 1/4", 15IPS Dolby SR, and an Alesis Masterlink.
.
I will use no stereo bus compressor,
just individual and group compressor's.

It's my new thang.
Am I blowin it? :confused:

Just curious if there is a point to tranferring to the MX2424 (except editing maybe?). I wouldn't do the transfer analog because you're adding 2 more conversions and that could degrade the sound of the tracks. If you can do the transfer digitally you won't lose anything. If you can't do a digital transfer can you mix from the DA88's?

Jon Best Thu, 08/23/2001 - 19:46

Alesis Masterlink.

Why? Because I have a digital desk, and it seems like a reasonable way to get a 24 bit picture of what's coming out the ass end of the D8B.

Now that I'm moving away from that desk, I will be looking for a solid midlevel 1/4 or 1/2" machine (B67? Suggestions?), and a good stereo converter, not necessarily in that order.

anonymous Thu, 08/23/2001 - 21:39

Originally posted by RecorderMan:
"Anybody used 911 for 1/4" mixdown?"
911 is Excellant. especially @ +3. Great dynamics, clear top and tight bottom.

I'm a big fan of EMTEC (BASF). The last record I mixed i did with 911,1/4", +5/185, 30ips, w/ SR. It sounded good, and I love tracking to 911 2", but I think I'm gonna stick with 900 for mixing -- I think the low end is a bit deeper sounding and the midrange a bit less pronounced on the 900. I'd take either 911 or 900 over the Quantegy stuff..

-John

RNorman Sun, 08/26/2001 - 06:51

Originally posted by GigaBoy:
I just acquired a Tascam model 42. It appears to be a solid machine and I plan to mix my next project to it as well. Is this machine (assuming it is in good shape) worth using and what would be the best tape choice for rock guitar band mixes. Thanks

GigaBoy
http://

It'll do, but it's not the cat's meow. Assuming that it's well maintained and properly calibrated and the transport is solid (don't forget the switches - they screw up on older Tascams) you can do fine. You could do better. Much better, in fact, but only by being very lucky in some other purchase in terms of dollars. Check out the ATR website for 1" two tracks if you want to know JUST how much better and you're not applying dollars.

As far as tape, I'd stick with 456 Quantegy or maybe 499 (iffy), depending on what you're mixing. GP9 is probably a little overboard for the machine and 900 Emtec might be a little thick for the transport (as might GP9). Have a good tech look and calibrate the machine, bias it properly for the tape you choose and then never use any other tape than that unless you get it biased again.

But I'm sure that there are others here who can offer better advice than I. Being a long time Tascam RTR user, I just know some of the foibles.

anonymous Mon, 08/27/2001 - 16:05

Originally posted by miketholen:
hiss? ;)

I get zero hiss using 1/4-inch GP9 at +5/250 on an ATR102 at 15 ips. Of course I'm not doing chamber music either. As Fletcher says - Hiss is irrelavent once you hit the standby switch on a Marshall amp.

My suggestion is to elevate the level another 3db; which GP9 will run at without breaking a sweat. Besides, how the fuck did they make all those great albums on 1/4-inch machines before 1/2-inch became the standard.

Kind of makes you go.... Hmmmmmmmm...

Of course you could always mix to digital; it is perfect after all. :roll:

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