I apologize if this suggestion has already been put out there, but I'm always curious to compare/exchange mixes done entirely *inside* PT with others who are doing the same. This isn't an attempt to start yet another debate over the Pro Tools mix bus, math, etc. Let's just assume for a moment that there is some degree of wierdness there.

Who is using the D8B and what do you think of it so far? What are you recording to? Any tips on setting it up? How many MFX and UFX cards do you really need? Is the automation smooth enough to use? Any software limitations or bugs that cause headaches?

I've talked to dealers and reps and Mackie guys directly, but I want to know what the people who have them think. Thanks.

Just curious as to when other mixers start engaging stereo compression in the mix process.

Do you generally send all your drum tracks to a 2-bus and compress them all together when tracking?

With another thread brought up regarding the sh*tty sound in pro-tools...I was left thinking today as I sat at a contol-24 - Playing with the 7k mouse, I started to dwell upon the premise of that the only sound of pro-tools (other that converters and plugs)is the summing math of the software.

What are some of the reasons to bus on mixdown? I am not talking about tracking. It seems to be a big pain in the arse for me for a couple of reasons and I cant see any advantage, so I need some big pros who have worked on big 16 or 24 bus consoles to explain in to me.

Originally posted by DAvid Goodermuth on another thread:

"It has been my experience that the 2-bus is a weak point in a lot of analog consoles, as well as the daw sh*t. The SSL E's and G's 2-bus totally sucked. Most quality studios using SSL's bypassed the factory 2-bus either with on-board mods, or outboard faders. The "J" seems to be better, but most of the daw's do indeed blow."