Don't compress & eq the mix. Do it on mastering.

[illacov]

I can always just do a mult and have 2 channels go to the reel to reel and 2 channels go direct to the A/D.

So far I find it incredibly difficult to really screw up recording a mixdown to tape though.

Even over +6db its still so juicy and roomy.

I just love what tape does to glue the low end and low mids together and kind of smooth up the highs.

You have to mix different for sure. What you would mixdown to digital isn't going to always sound the same on tape, but that also depends on tape type, tape speed, calibration, proper biasing, good heads.

For hip hop and heavy rock, I definitely think mixing down to tape rules.

I got a heavy rock band I'm doing a demo project for (6 tracks) and they sounded great on an analog mix but once I ran it thru tape hot, it was like visiting a nice Rage Against the Machine listening session.

Peace
Illumination

[Bob Olhsson]

To me the biggest reason to leave headroom in a mix is so that your monitoring D to A converter's analog limitations won't be throwing your mix decisions off because they have become a part of the mix that will be lost the minute it's played somewhere else.

[bionic]

I agree with the bulk of posts.
As a producer and mixer, my job is to get the 'mix' sounding as good as possible and as appropriate as possible. This means that some of the creative decisions in terms of mix buss, comp and eq get made confidently at that point because my job is to make those decisions - that's what I get paid for.
Mastering is purely there to enhance what I think is right for the client, not to alter or change it. The mastering engineer doesn't have the history with the project or the 'big' picture of the project so shouldn't be expected to carry the weight of those decisions. their objectivity is fantastic for technical aspects but even that should be tempered against the producer or mixers direction for the project.
This is assuming the mixes are good tho.... ; )
If not, the mastering engineer should do whatever the hell they can!

[nickynicknick]

Originally Posted by Bob Olhsson

To me the biggest reason to leave headroom in a mix is so that your monitoring D to A converter's analog limitations won't be throwing your mix decisions off because they have become a part of the mix that will be lost the minute it's played somewhere else.

Now that is some good advice... I also agree with Bionic that if you're mixing don't pass the buck..unless you f*** up, then blame the mastering engineer!

Nick

[byrd62au]

I have wanted to ask this question for a while so this thread is great. I had a mix going the other night that was sounding good then I put Ozone on the 2 buss with a little multiband and no other processors engaged and it sounded great! so I bounced it like that. The band loves it I've played it to a couple of other engineers and got compliments. I'm very much a rookie at this still but I can't think of a good reason not to do it.

EDIT - I should mention I feel like Wayne & Garth talking to Alice Cooper in this forum - we are definitely not worthy but I figure I'm not going to learn if I don't speak up when I might learn something.

[lucey]

Originally Posted by Bob Amirian

Exactly. The goal is a great sounding mix. Obvious? Sure, but apparently not to everybody, that mastering guy really said he likes to have some influence on mix. And he keeps telling this to many new bands who'd probably listen to him

Run away.

The only influence mastering should have is to make a great mix fit the record. To be constructively invisible.

Next best, make a good mix great, and fit the record.

Next best, have an 'influence' ...

[Online-Mastering]

Putting it together in my words: The goal should be a convincing, wonderful sounding mixing. And such a mix will sound good at -15 dbfs as well as -10 dbfs. Because it's a good mix.

A good mix leaves the mastering engineer the 'good work' not having to deal with correcting and adjusting and trying to fix everything in the mastering stage. If you need 6 stems of something to make it sound, than something might be particularly wrong. As said: A good mix in stems will end up leaving the stems like they are. We all know 'fix it in the mix' and that's so true.

Because in case such a good mix is delivered we can concentrate and nice little subtle enhancements that adds the last percents. Do what every you like to do on your mixdown (besides using anything to bring it to maximum loudness levels / hard limiting) to make it sound as good as you can get.

A well mixed track can be played to anyone and will receive good feedback. Again, something is wrong if a producers / mixing guy says: 'Here, have a listen. It's sounds quite ok. Keep in mind it's not mastered. The sound qualiy comes with the final mastering.'

Push the sound quality as far as you can get. In the mix. IMHO

Arne