I recorded to DSD and I can't see any reason not to always go that route. I like the idea of archiving all projects to DSD and only converting when I need to deliver final product to a client.
The obvious exception will be on projects where the client will also be recording other parts at other studios and needs to have all files in a consistent format. But in all other cases, I really like the idea of standardizing on DSD and only converting prior to delivery.
As with 95% of my work, the editing required for this project consists of compiling the best complete takes into a 2 track master. This particular client only requires a 16/44 CD for his immediate needs, so I will pick the best takes of each tune and burn them to CD (using the Genex converters to send the CD burner an AES 16/44 signal.
The project was recorded to 4ch with a main stereo pair and a spot mic on the flute and another on the guitar. The amount of "mixing" required is extremely minimal. Especially after I adjusted the guitar's spot mic midway through the set. From that point forward, the mix should stand as is. Prior to that point, I need to boost the guitar / cut the flute a total of 2 or 3 dB.
Oh, yes.....I agree that this rig is capable of some breathtakingly good recordings. On listening to the first playback last night, I caught a few stupid mistakes that I made (like allowing the Genex fan to get inside the pickup pattern of the right side mic of the stereo pair, D'oh!) that night. But if I can keep from screwing things up, the basic recordings will sound amazing - without any post processing. It's great to finally be satisfied with the gear I've got. Now I can concentrate on recording, not chasing equipment.
steve
lex125@pacbell.net