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Old 3rd February 2007
  #121
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Quote:
Originally Posted by Jerry Tubb View Post
...Configure PT with two stereo tracks, one for playback, the other to record. Route the "playback" track output (via AES) to an external DAC, to feed the analog EQ processing path. Connect the analog path, to an external ADC, and return (via AES) to the "record" track in PT. Route the "record" track output (via AES) to your monitor DAC.....
Jerry, just curious as to why you don't route the playback track through an Aux track and insert the hardware into that before routing to the record track?
Old 3rd February 2007
  #122
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jslevin's Avatar
Quote:
Originally Posted by Samc View Post
Jerry, just curious as to why you don't route the playback track through an Aux track and insert the hardware into that before routing to the record track?
Why would he want to? Now your session has one more stereo track to keep track of, and nothing gained for it.

JSL
Old 4th February 2007
  #123
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Quote:
Originally Posted by jslevin View Post
Now your session has one more stereo track to keep track of, and nothing gained for it.

JSL
I had no idea that it was so difficult to "keep track" of a stereo track.

Using the Aux channel/insert route gives you five insert points, which allows you to easily insert either analog or digital processing boxes. It also allows you to easily change the position of your inserted devises in the chain.

Jerry if you don't mind I would still like to know any special reason(s) you may have for your method.
Old 4th February 2007
  #124
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Jerry Tubb's Avatar
 

Verified Member
Quote:
Originally Posted by Samc View Post
Jerry, just curious as to why you don't route the playback track through an Aux track and insert the hardware into that before routing to the record track?
Quote:
Originally Posted by Samc View Post
Using the Aux channel/insert route gives you five insert points, which allows you to easily insert either analog or digital processing boxes. It also allows you to easily change the position of your inserted devises in the chain.

Jerry if you don't mind I would still like to know any special reason(s) you may have for your method.
Hey Sam,

It's just the first way that occured to me. I use the Lavry Blue DAC/ADC unit to/from my analog EQ loop, not the stock PT convertors. I suppose the AUX method would work too.

Just curious if you've thought of a better reason to use the Aux track method that I might have overlooked?

Cheers - JT

Last edited by Jerry Tubb; 4th February 2007 at 05:07 AM.. Reason: clarification
Old 4th February 2007
  #125
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jslevin's Avatar
Quote:
Originally Posted by Samc View Post
I had no idea that it was so difficult to "keep track" of a stereo track.
I didn't say it was difficult, I just said it seemed pointless. No need to be snippy, it was an honest question. Without the aux track, you get five insert points on the playback track. With it, you get ten, five each on the playback and aux tracks. I honestly just thought I was "missing" something. Is there something different about inserts on an Aux track as compared to inserts on a playback track?

JSL
Old 5th February 2007
  #126
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mars's Avatar
Quote:
Originally Posted by masteringhouse View Post
Just to take this thread in a slightly different direction, I would like to know how users of other systems perform ITB routing. This is an important feature for me.

As an example, how would you create an M/S matrix with a non-PT system not using any external gear or plug-ins?

I'm not trying to imply PT superiority here, just trying to understand how PT might be replaced without having to spend to much time in demoland.
How do you create your M/S Matrix in ProTools?
Old 5th February 2007
  #127
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Quote:
Originally Posted by mars View Post
How do you create your M/S Matrix in ProTools?
See:

http://www.masteringhouse.com/master...s/midside.html

I realize that his can be done with other DAWs (and with an analog board for that matter). I was curious to see how this would be done with other DAWs if possible. Some do not use a metaphorical mixing board.

BTW this may be one of the reasons to use an aux channel(s) as suggested above.
Old 5th February 2007
  #128
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Jerry Tubb's Avatar
 

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Hey Tom,

Nice description of the M/S routing process.

Yet another reason why PT can be used effectively in the mastering process.

Does your method sound better than using the Waves' S1 M/S plug-in?

JT
Old 5th February 2007
  #129
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masteringhouse's Avatar
 

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Quote:
Originally Posted by Jerry Tubb View Post
Hey Tom,

Nice description of the M/S routing process.

Yet another reason why PT can be used effectively in the mastering process.

Does your method sound better than using the Waves' S1 M/S plug-in?

JT
Jerry,

I haven't tried using the Waves S1, though I've tried others. The ones I've tried tend to make a mix very thin and weak and don't allow you to get in there and make mods in regard to phase delay times and other tweaks. To be honest I never found the need beyond this setup.

Here's an interesting routing problem:

I had a friend of mine send me a mix of a vocalist who was a partner of his and died in an unfortunate car accident. Before she died she went to a studio and sang to a few Karaoke tracks that he would like to use in a tribute CD. Unfortunately the guy at the studio must have had a bad cable and one of the channels of the Karaoke tracks had it's polarity reversed while the vocal track (which has gone through a stereo reverb) is fine.

What type of routing configuration can be used to correct this?
Old 5th February 2007
  #130
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Roland's Avatar
Quote:
Originally Posted by masteringhouse View Post
Jerry,

I haven't tried using the Waves S1, though I've tried others. The ones I've tried tend to make a mix very thin and weak and don't allow you to get in there and make mods in regard to phase delay times and other tweaks. To be honest I never found the need beyond this setup.

Here's an interesting routing problem:

I had a friend of mine send me a mix of a vocalist who was a partner of his and died in an unfortunate car accident. Before she died she went to a studio and sang to a few Karaoke tracks that he would like to use in a tribute CD. Unfortunately the guy at the studio must have had a bad cable and one of the channels of the Karaoke tracks had it's polarity reversed while the vocal track (which has gone through a stereo reverb) is fine.

What type of routing configuration can be used to correct this?


I would take a stab in the first instance of duplicating the track summing one pair together in Mono then flipping the phase on one channel (I would experiment with both to find out which worked better) on the copy. With the reverb their could be some slightly "phasing" artifacts, but it should work.

Regards


Roland
Old 5th February 2007
  #131
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Thanks JT and jslevin,

I use the aux route because it was the first method that I tried, and it worked.

I also use different processing chains and by patching the different chains through the insert, I can A/B them quickly, and/or change the position(s) of various processing elements in the chain easily......So in a sense like a patch bay.

I guess there are no sonic advantages to either method. By the way JT, you can also use external converters on all insert points...but I'm sure you guys knew that already.
Old 8th February 2007
  #132
Mastering Moderator
 
Riccardo's Avatar
 

Verified Member
Jay, Jerry, Thor and everybody else using Blade,
is there a function/preference similar to X-over solo mode in PT.
In other words if you solo a panel the other one goes into mute and vice versa.
In normal operation if you solo one panel and then solo the other one, the first one won't mute.
Am I missing something?
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