how do you print your mix ?

[Stick]

I do my mixing all ITB (no outboard anything) on a Mix+++ system, so I do the AES out and back into another AES input and record onto a new stereo track in the same session. I do that because I've heard that the automation does better on playback than on Bounce To Disk. If it's not a complicated mix, BTD is fine with me. Then those 24bit files go on the hard drive or CDR or DVD for the mastering guy, unless it's me, and then I just load them into a new session and "master" away (In "quotes" because I certainly don't consider myself a mastering guy, especially ITB). And again, because I'm all ITB, I do everything at 44.1 so it's painless to go to audio CDR.

Probably not "the ideal" but it works as well as if found with my resources.

[karl]

I record 24/48 and record back onto a steroe track in Pro Tools. Then send the files to the mastering studio and let them do the conversion. I kind of stick with 48k for future compatibilty. Some people have come back for a remix in 5.1.

[Jules]

I'm using PT mix + with analog summing

For archive / pro mastering

16 out of PT Mix + into
Dangerous 2 bus - stereo out into
Cranesong STC-8 compressor
Cranesong Hedd A/D converter @ 24bit 96k
Masterlink 24 bit 96k
(then take Masterlink or 96/24 CD24 files to mastering)

For self mastering

16 out of PT Mix + into
Dangerous 2 bus - stereo out into
Cranesong STC-8 compressor
Cranesong Hedd A/D converter @ 24bit 96k
Finalizer 96k hardware sample rate converting to 44.1k 24bit
Masterlink 24 bit 44.1k
(then import into PT Mix + for mastering session)

The 96k 24 bit mixes sound WAY better!

Bigger / wider range / depth / they simply sound more expencive

[karl]

Slightly off topic, but I couldn't help noticing the Dangerous 2-bus in Jules setup. I often mix with 4 stereo pairs from a Mix system through a Soundcraft Ghost. Does the 2-bus make a huge difference to the sound, or is it quite subtle?

[Charles Dye]

BTD
WAV
Session sample rate
24 bit
Multiple-mono
Burn to CD-R

I prefer BTD for simplicity and for the reason that all my mixes will be in the session folder, and easy to find in the future. WAV seems like a near universal file format. I simply prefer multiple-mono over stereo interleaved (it can easily be reimported back into PT w/out conversion). The mastering house seem to prefer CD-Rs.

[Jan Folkson]

When mixing in PT, I assign all the tracks to a bus and open a stereo audio track and print back to that track in real time. When mixing on a desk, I take the 2 out of the desk to whatever bus items and back into 2 tracks of PT. I've also printed to 1/2 inch as well using PT or a desk as the mixer.

[The MPCist]

I mix summed through a Manley Mixer. Mixes and stems recorded back into PT Hd via Hedd AD.

[RichT]

Originally posted by C.Lambrechts
Charles and others,


would like to hear how you print your mix. and why or what do you prefer about it ?

Do you bounce it ? If so do you stay at sessions sample rate / bit depth ?

Do you print it to tape / masterlink / CDR / DAT / cassette deck ?

I export to hard disk within Nuendo to 32 Bit Float 44.1Hz Stereo WAV.

I burn the stereo WAV mixes to Data CD-R for mastering houses and include a reference CD audio disc with 16Bit Dithered Dumps.

If self mastering I'll stay at 32 / 44.1Hz until dithering down with Apogee UV22 plugin to hard disk until finally burnt to Audio CD-R using Wavelab 4.

Cheers,
Rich