Originally Posted by xj32
...ok back to all seriousness, I personally find that the less tracks I have, the better my mixes are.
Things I have done to get there.
- Submix tracks (think multiple mic setups)
- stop thinking that everything has to be recorded in stereo
- have the musicians nail a take
- stop the thinking of "fix it in the mix"
- Stop the thinking of: Just because I can...
- Have a self imposed track limit. I find often I was much more creative in the old days when all I had was 4 to 8 tracks of Tape (ana or dig)
- Sub mix and do bounce downs (sometimes if the client wants me to I keep the original tracks buried, but muted in a folder track just in case.)
More food for thought.
So you say you sometimes get up to 40 tracks, but if you are submixing and bouncing down, then in reality you are using more tracks. I'm just leaving everything as it was originally recorded, both for mixdown and archiving.
A lot of things are recorded in stereo, but only things that really should be. Usually guitars are mono. I don't exactly subscribe to the acusonic recording process per se but I certainly see the point. Bruce Swedien was one of the first if not the first person to try to utilize "unlimited" track count. I think his mixes sound alright.
These tracks are all with good quality session musicians, who nail the takes and don't need to be fixed in the mix. If I'm working with poor musicians, I don't have the patience to deal with that many tracks of crap. These are not alternate takes or comps, although every track does not always get used in the final mixdown.
I find I can be creative when I don't have worry about technical limitations like track count. If I hear sometime that needs to be added, I just add it. I don't have to submix or bounce tracks down, or move things around to track it. Then when it comes to mix, I don't have to worry about having mulitple sounds on the same track, so I can do less automating.
At least for me, having this many tracks is not "just because I can", but because I always wished I could. Some art is created by self imposed limitations. When I'm capturing someone else's art, I prefer to have no limitations, and to be able to deliver what they hear in their head.