Orchestral sessions/ Pro Tools HD

[BevvyB]

Jon might know the answer!

1. Recording orchestras with Pro Tools HD and the 192. Is this 'the ultimate' mic pre or is there a bettter 'way in' even though Digi goes on about transparency etc. Has anyone here just 'used the desk' to get into the 192, or is that missing the point.

2. If you run at 96k can you 'double' the session from one computer onto 2 drives like the upcoming Genex 48 track promises simultaneously.

3. Is there any new slutty gear coming out that will eclipse the Digi 192 box inthe same way that Apogee and then Prism did to the 888?

4. I like the idea of having a portable machine that can then be loaded into Pro Tools such as a caddy from radar or genex. Is anyone using a more portable setup for some things and then slipping them into pro tools (not re-recording them into pro tools) out there?

5. Ultimately, this is a thread about sound quality and orchestral sessions. Anyone done 5.1 at 192k yet?

Cheers folks!

Bev

[Jules]

Golden eared designers frequently refer to the high frequency 'excitation' of strings as something hard to capture on digital..

Does 192k come closer?

Matchbox 20 just did a whole album at 192k but they arent an orchestra..

[Paul Turpin]

3. Is there any new slutty gear coming out that will eclipse the Digi 192 box inthe same way that Apogee and then Prism did to the 888?

Does the Prism ADA-8 count? Probably not - it only does 96. But some people are desperate to use ProTools without using Digi convertors (not me).

http://www.prismsound.com/psada8.htm

One bonus - its got direct to HD Connectors now! and there's some sort of DSD thing for it - but that won't work with PTHD for sure. Check this too -

http://www.prismsound.com/psnews.htm

I'm sticking with 192's though. Genex would be cool though.

[jon]

What I've seen/done orchestra-wise took place here at Capitol Paris or at Guillaume Tell and in both situations the SSL J series pres were generally used, then to Apogees running at 48kHz.

If doing a portable rig, I'd likely go with Millenia or GML mic pres for orchestra work with DPAs, Schoeps, etc. Some mics, like U67s and U47s, I like particularly when coupled with Neve 10xx pres.

As for converters, that's up to you (taste thing) and it also depends on clock source. Of the ones I've heard, I'd go Prisms or db tech, then Genexes or Apogees, then HD192s, then 888/24s, then HD96s, in about that order.

[BevvyB]

Have you done an orchestral session at 192k Jon?

[jon]

Nope, 48.

Sometimes I mix down to 88.1, but that's about it so far.

[BevvyB]

I'm trying to decide myself you see...is it worth it/isn't it/does anyone apart from us guys tell the difference/what is easiest/where is all this going anyway etc etc

And the other question is how much am I going to buy and how much am I going to hire in.

etc

Impending film. Might set up a 5.1 room of my own around pro tools hd as part of the budget for mixing. I've also got to record/rerecord/write some songs for the album.

I'm trying to work out the best all round flexible solution.

[jon]

From the film/video projects I've seen, 48/16 has been the delivery standard. You might want to check with the director, film mixers, etc, about their delivery requirements.

If some music is for the film AND for a soundtrack CD, you may have to mix down to 48 for the film and to 44 or 88 for the CD mastering.