What format do you mix to and how does it get to your mastering guy?

1" as often as I can.
I just got a RADAR and am thinking about doing 96k mixes when then 1" isn't feasable.
has anybody fed thier mastering 'guy' RADAR files? .bwav?

I am mixing back to protools. Taking 24 tracks out of PT 5.1.1 into a Trident 80b then back into a stereo track in the same session I am using a HEDD for my A to D. Sounds a little convoluted but it allows me to A/B multiple mixes very fast. Its similar to the "bouce to disk" function in PT but I get to us an ANALOG console.

Hello Michael,

Well up to recently, it's been DAT(Tascam DA-45) at both 16/44 and 24/48. But I've recently been mixing down to ProTools.

I'm going to try Masterlink next, although I'm not sure if it has a W/C input. I've grown very attached to my AardSync II.

Good to see you on this forum. Take care.

Most often: Apogee PSX100SE -> Masterlink CD24 at 24/96.

Sometimes: 1/2" Studer A810 (would like to have an ATR, too, someday...)

Armando, the Masterlink can be clocked by the AES digital input of a third-party converter. No W/C input, just AES.

Sucky poll, why can't we pick two answers? I mix to 1/4" and DAT.

Ditto @ Jay

Sorry guys, I messed up and forgot to click that option and then it wouldn't let me go back and change it.
Still learning this poll stuffheh

I go to either DAW or DAT... I'm also looking into possibly going with an analog format of some kind. 1/4" decks are getting dirt cheap...

DAW - CDR - DAT .... in that order.

PT (44.1 24 bit) - analog mixer - Cranesong Hedd converter and tape / valve simulator (44.1 24 bit) - back AES to PT (44.1 24 bit) - on this stereo channel I can place plug ins, including dither - I listen to the output of this channel via the Cranesong Hedd - D/A (which can be accessed independently of the A/D)

So I print 24 bit - but monitor 16bit dithered - I also send 16 bit dithered to my Masterlink for client / listening copies. Then at a later date I import each 24 bit "master mix" channel from all the tunes (including any plug ins I had sitting on em) into one "mastering session'.... I retain the ability to burn off 24 bit data to give to a pro mastering guy..



I can toggle between ref CD's and my mix via the same D/A's on the Hedd.

DAW 44/24 via finalizer

Thought DAT got outlawed.
'

1" Analogue? For stereo? Could you explain further?

I seem to recall delivering surround movie mixes on 8-track 1" many years ago, but that is the only time I've heard of mixing to 1".

At the moment - 2 tk's in the DAW.
Going to try our new Fostex CR500 Master Recorder which can do 24/96 BWF once the studio is finished.
Would like to get a half inch sometime soon too maybe.

i mix to 1/2" (depending on the style, mostly 30 ips., sometimes 15 ips.) and Masterlink via Apogee PSX-100 @ 24/96 at the same time.
that is just for safety, 1/2" always wins sonically.

Sometimes i mix down to 2 tracks on Radar 24, which runs in sync with the tape machine. it's nice on complicated tracks, because i don't like working with automation, and on Radar you can punch in and out of mix parts, even the smallest sequences, and still always work on a whole mix.

i might send 24/96 copies of the 1/2" tapes in for mastering, though.
I sent a box of tapes to Greg Calbi once, and it was quite an anxious time until they arrived safely. Plus an expensive undertaking from over here, shipping cost almost 15% of the mastering budget.

Besides, Greg had a dramatically different low end response on his ATR-102 from what i had on my MCI (which gives me back -5 dB @ 30Hz, Greg's ATR is f###ing flat!!!), so it took a bit of back and forth to get where we were going.
With files you don't get these kind of misunderstandings.

tom

analoghaus :: studio label verlag - home

We have been mixing to ATR 1/2" on our A-80RC at 30.
We used to bring the tape to mastering.
Lately we have been mixing to the 1/2"
then flying the finished mix back into a "mixes" PT session
at 96/24. We take those files to mastering. We usually use
just one reel of 1/2" for the album.

There are some positives about playing back on the machine you
record to. It has been working out real well for us. We get
our stuff mastered by either Scott Hull, Dave McNair or Paul Gold.

Masterlink

DAW via my website to the masterer.

6 1/2 year old thread will have varying degrees of applicability heh

mixed to 1/4", then brought back into digital as 24/96 WAV

Apogee-Masterlink CD 24 96KHZ. I mix thru an analog console

DSD-DXD emerged in the last 7 years to become high-end standard for digital masters.
Best tape masters still win.

Masterlink

Wow, this one came back out of the dust. I'm sure the poll looks completely different in 2009 than it looked in 2002. I myself moved from mixing to the Masterlink to recording the mix in Nuendo. Today's requirements with 14 mix passes, stems etc. makes the DAW/hardrive the ideal contender for storing mixes. I still mix the first three passes to the masterlink as well: main mix, TV mix (no lead vocal) and playback (mix without any vocal in a language, for recording in different languages later, oohs and aahs stay in). All mixes are also backed up on a separate DVD/CD form the session files.

Both 1/4" and 1/2" on Studer A80s