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audiokid · 2nd November 2012

You are very welcome. I embrace people who want better. You are on the right path and you are Canadian too!

I asked that last question to save you time and money. But it also cost money to do it the right way. But "right" is subjective.

I have written many threads on this subject and it can get long winded from this point on. So many people trust ITB and trust paper. I use my ears.
So without going to far off path here... start reading why people save on a second box. Follow the people who are doing this and ignore the ones that think its bunk. Hows that for confidence.

Each step you take in the high end world are baby steps ( the last 2%) but it is that last 2% that separates the smear from the open and lush sounding mixes.

Not to mention, I get the final mix done way faster.

Without going on and on. If you have the funds, I would suggest 2 AD DA converters. One for recording and playback and a second for mastering and playback.

One goes on one DAW and the other goes on the second DAW.

Or, you could invest in something like the MR2000SBK .

The point is, I avoid SRC ( sample rate conversion) like the plague. We record a beautiful song on example Pro Tools at 88.2, send it OTB to add some glorious analog mojo then save that unscathed mix to a second record that is set at 44.1, ready to me burned to CD or transfered online. This way you aren't letting protools screw it all up with its math. Follow? The sound is better this way.

And one you start working this way, you will never go back. The next thing you are going to want to invest in is, something like the Dangerous Monitor ST and a summing amp. .

Converters are a great place to start.

I track using either a few RME ADI-8QS's or Lavry AD11. Once my song/session is ready, I send stems OTB, do the hybrid dance and save the analog 2 buss via an Orpheus to a second computer that has Sequoia 12 loaded. I do the mastering there and finish it. Welcome to the tricks of mastering.

You don't need what I have but I highly recommend following the method.

I use the Dangerous Monitor ST to connect all the AD DA coming from all the sources. My mixes are extremely accurate. There is no guessing. Monitoring is a big one to learn everything you can.

Make sense so far?

Hope that helps. Got to run for now.

2nd November 2012	#10
audiokid Gear addict Joined: Jan 2010 Location: British Columbia Canada Posts: 372	You are very welcome. I embrace people who want better. You are on the right path and you are Canadian too! I asked that last question to save you time and money. But it also cost money to do it the right way. But "right" is subjective. I have written many threads on this subject and it can get long winded from this point on. So many people trust ITB and trust paper. I use my ears. So without going to far off path here... start reading why people save on a second box. Follow the people who are doing this and ignore the ones that think its bunk. Hows that for confidence. Each step you take in the high end world are baby steps ( the last 2%) but it is that last 2% that separates the smear from the open and lush sounding mixes. Not to mention, I get the final mix done way faster. Without going on and on. If you have the funds, I would suggest 2 AD DA converters. One for recording and playback and a second for mastering and playback. One goes on one DAW and the other goes on the second DAW. Or, you could invest in something like the MR2000SBK . The point is, I avoid SRC ( sample rate conversion) like the plague. We record a beautiful song on example Pro Tools at 88.2, send it OTB to add some glorious analog mojo then save that unscathed mix to a second record that is set at 44.1, ready to me burned to CD or transfered online. This way you aren't letting protools screw it all up with its math. Follow? The sound is better this way. And one you start working this way, you will never go back. The next thing you are going to want to invest in is, something like the Dangerous Monitor ST and a summing amp. . Converters are a great place to start. I track using either a few RME ADI-8QS's or Lavry AD11. Once my song/session is ready, I send stems OTB, do the hybrid dance and save the analog 2 buss via an Orpheus to a second computer that has Sequoia 12 loaded. I do the mastering there and finish it. Welcome to the tricks of mastering. You don't need what I have but I highly recommend following the method. I use the Dangerous Monitor ST to connect all the AD DA coming from all the sources. My mixes are extremely accurate. There is no guessing. Monitoring is a big one to learn everything you can. Make sense so far? Hope that helps. Got to run for now. __________________ http://recording.org Pro Audio Forums since 1999.
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