What are you mixing down to? 1/2" masterlink,bounce? - Gearspace.com
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What are you mixing down to? 1/2" masterlink,bounce?
Old 14th December 2002
Lives for gear
🎧 15 years
What are you mixing down to? 1/2" masterlink,bounce?

I have Prostools and was wondering what the big dogs mix down to? I don't use bounce but mix back to ptools on a stereo track.
I realize a bounce is taboo but what about differences in mix downs, do you really hear a huge difference in going to the 1/2 analog vs masterlink vs 16 bit dat vs mixing back to tracks?
I haven't had a chance to compare much of anything but have an important couple of sessions coming up and I'm trying to examine everything. Is the masterlink a great mixdown rig for the money?

What do you use for a 1/2 analog deck that is so much better than
everything else? Thanks for any and all opinions!
Old 14th December 2002
Lives for gear
🎧 15 years
Ok slipperman this I like! But what do you think of Masterlink?
Again this is for prostools, so If this whole thing is pretty close maybe I'll spend the bucks on a comp or just take it back to the basics and get a great guitar amp Just to cover my bases.
Old 14th December 2002
Lives for gear
dave-G's Avatar
🎧 15 years
Honestly, I think the ProTools bounce-to-disk thing is actually much more voodoo than taboo. Works fine. However, having a Masterlink and a good pair of converters (Hedd, Apogee, Prism, dB, Lavry, yadda, yadda) can be very useful if you like to do any analog mix-bus processing, or if you mix through a console.

I haven't printed anything to a 16bit DAT for a couple of years now. Chhhcchhh--PPTooey!! Don't miss it a bit.

Old 14th December 2002
Jules's Avatar
Masterlink at 96k 24 bit (ususaly with Hedd tape simulation prior..

96k = archive + Pro mastering

I use a Finalizer with 'up down' option to SRC 96k masters to 44.1 24 bit for my own 'junior' mastering when required..

BTW When I do that junior mastering I A/B toggle between AES & SPDIF inputs on the Cranesong Hedd.

AES = Masterlink playing comercial - mastered 'hits'
SPDIF = Pro Tools mix bus out

(I use toltaly digital mastering tools, lately Sony GML eq + Finalizer normalisation & a tad multiband compression - usually just on the low end )

This means I am comparing the two signal via:

The same D/A converters
Using the same wordclock

High end moderator Jon Atack turned me on to this method, he does it for accurate A/B with his Apogee PSX 100 which actually has 3 selectable digital inputs on its D/A monitor 2 x AES 1 x SPDIF)

Old 14th December 2002
Lives for gear
Knox's Avatar
🎧 15 years
Ampex ATR
and Masterlink through Hedd
Old 14th December 2002
Lives for gear
C.Lambrechts's Avatar
🎧 15 years
option 1 :

Bounce to Disk at 24 bits .... whatever samplerate the session was in and then taken to the mastering house.

option 2 :

Bounce to disk with 2 sys6K engines inserted on master , 1 engine for GML eq option and the other for dynamics engine. always bounce at original sample / bit rate and one at 16/44.1 (conversion done after bounce and using waves dither).
Old 14th December 2002
Lives for gear
studjo's Avatar
🎧 15 years
I'm mixing down directly to the Masterlink - and it sounds fine for me and my clients.
I don't have the clients that Jules has so I have to invest in clients before I invest into the Hedd (which is certainly a wonderful unit).


Cheers Jo
Old 15th December 2002
Gear Guru
thethrillfactor's Avatar
4 Reviews written
🎧 15 years
It all comes down to what the clients can afford. The most common these days is HEDD 192K(88.2 or 44.1K)- Masterlink(or Pro Tools depending on what country). Sometimes its Hedd to DAT(my least favorite). For the more expensive and picky clients: Ampex 102 1/2" or 1/4".

I've experimented some these days with bouncing down(for sessions that were mixed at 48K). It sounds the same(thank god!!).

Would love to try the new Genex recorder. I heard their eight channel converters and was blown away!!
Old 16th December 2002
Gear Guru
Drumsound's Avatar
🎧 15 years
I use a 1/4" Tascam ATR-60 that I got from Johnny K. I know Jay Kahrs uses a 1/4" too.
Old 17th December 2002
Lives for gear
🎧 15 years
Thanks guys for the responses, It looks like the masterlink by itself my not be the solution, so I may stick to mixing back to tracks which I like better than the standard bounce, so I can tweak as we mixdown, just like the old days
I have an old dat, a 15ips denon1/4 that i can put back into service just for the hell of it.

The band that I'm getting ready to record sent me their home demo, I may have to buy another guitar amp, as their transistor rig leaves alot to be desired. Ya know, start with the sound at the instrument.

If you're not bored yet, are you guys that mix to analog running the reels at 30 ips or 15? That gives you about 16 minutes at 30ips? Just curious, thanks
Old 17th December 2002
Lives for gear
groundcontrol's Avatar
🎧 15 years
I bounce (haven't noticed a problem on HD either... ) and, budget permitting, print to 1/2" Ampex or Studer. Usually at 30ips (+5) non-Dolby although sometimes for fatter stuff I do 15ips + SR.

BTW, ditto the Genex converters. I heard them at a local mastering house and liked them. I'm trying to get some to test at my place.
Old 17th December 2002
Gear Guru
Drumsound's Avatar
🎧 15 years
30ips for me. But, I'm doing a quickie/low cash project next month that I think will mix at 15ips.
Old 19th December 2002
Gear Maniac
🎧 15 years
Completely depends on the budget for the particular project but I try to use 1/2 inch analog whenever I can. I've done my last two projects on ProTools HD at 96Khz. Then mixed to 1/2 inch. Sounds amazing. I also simultaneaously mix back into ProTools for backup.

I've also used a Ampex ATR 102 which makes a HUGE difference.

Has anyone else noticed that when bouncing a mix in ProTools down from say 96K to 48K or 44.1, during the actual bounce when the mix is playing in real time, that the mix sounds a little phase-y? But when you play it back after the bounce it sounds fine. Anyone else notice this?

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