Transfering from 2 inch to Pro Tools

[mbradzick]

I'm about to start tracking a band to 2 inch and we're dumping to PT for mixing. Actually, I'm gonna take the wavs and bring them into Cubase.

Any advice, like what sample rate to bounce to? We're gonna get some really good converters apparently and wanna capture the fidelity of the tape. This is more or less a demo so the band is thinking about the fact that most of the distribution will be mp3. Should we do 88.2 in lieu of 44.1 or go with 96?

[Tony Shepperd]

24bit/48k

[Toasterboy]

Mitch,

I've done tons of transferring to digital as my studio has been analog only for decades. I have never, not once, been happy with the transfer sound until recently. And let me tell you I have transferred many many reels in a variety of transfer houses all claiming to have the best converters, etc.

It was not until I transfered from my tape machine to my Radar that I actually found the transfer acceptable. I actually like the sound of the converters in that machine. And, if you're going to Cubase, why go to pt at all?

My recommendation is to find a transfer place that will transfer to Radar, or just rent a rig and do it right there in the studio. There are a variety of ways to get the wav files from the radar, dvd, ethernet, etc. I know I may sound like a commercial, but it's because I've finally found a digital medium I can enjoy.

Also, I agree with the post above, 24bit/48k.

[Dan]

I've noticed a discernable difference by going 24/96.

It might just be the digi converters though.

[Eganmedia]

What do you need in the way of processing once it's in PT? If you're using an analog console and analog outboard (or you have a big Accel system), or if you have limited track count, assuming it's for a CD release, go for 24/88.2. It's simpler math to downconvert from 88.2 to 44.1 than 96 is. 24 bit ought to be a foregone conclusion. If you need to stretch the limits of the PT system during mixing, I'd still stick with 24 bit, but use 44.1 as a sampling rate. Going to 48 won't buy you squat in terms of sonics once you have downconverted to 44.1 for CD. If you're going to video, use 48 or 96 for the same reasons as 44.1/88.2 are appropriate for CD.

In any case, worry more about tape machine alignment than the PT configuration, as there are a ton more variables. It can sound great, but if you don't know the machine or the tape formulation well, it can also be a recipe for distortion.

[malice]

Originally Posted by Eganmedia

It's simpler math to downconvert from 88.2 to 44.1 than 96 is.

Unfortunatly, "simple" maths are quite irrelevant when you need to apply a filter after a SR conversion.

This myth has a tough skin, apparently.


As long as you use good converters and 24bits, you're good.

Some would argue that resolution of analog is borderline to 'infinite" but be wrong forrever

Still you will lose something in the process ...

c'est la vie

malice

[NathanEldred]

We transfer from 2" 16 track to the DAW, I've had great luck with 44.1.

88.2 is a little more extended in the top frequencies, but I swear 44.1 sounds a little fatter which is better for 'rock' music.

[Rick Sutton]

Originally Posted by NathanEldred

We transfer from 2" 16 track to the DAW, I've had great luck with 44.1.

88.2 is a little more extended in the top frequencies, but I swear 44.1 sounds a little fatter which is better for 'rock' music.

This seems to go against the established GS mantra. You'd think that the higher the sample rate would always sound better.....but my experience is similar to Nathan's. I think that higher sample rates become too airy and I much prefer to work with and listen to music at 44.1. Fat is good. Hell, a lot of times grainy is good. Airy and polite bores me.

[AntillesSound]

common knowledge, but I feel it must be said....

again...high sample rates are not necessary if you're using quality converters.

higher sample rates=relaxed Nyquist filter=a less steep low pass filter which ultimately =the diffused risk of artifacts and time smearing pre-delay echoes. Higher quality converters have much better filters and can sound just as awesome at 44.1 as shitty filters can sound at 88.2, 96, etc.
Its the bit depth that matters and 24 should NEVER be a question. Anything of HD192 quality or better will be more than sufficient at 44.1/48 and much nicer stuff like Rosetta's, Aurora's and the Burl stuff will be even better.

just make sure that when you're doing your transfer, don't do any sort of eq, avoid summing through a buss, get the most direct signal possible. after all, you're trying to TRANSFER material that has already been recorded, thought about, etc and "processing" it on the way in is destructive and what I believe disrespectful to the material. unless of course its YOUR stuff and you feel like its the right thing..

again, the gearslutz mantra....if it works for me, it probably doesn't work for you. its so objective...haha