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| Re: DAW & Desks: Is ANYBODY actually still mixing on their desk? [message #326517 is a reply to message #60868 ] |
Fri, 21 March 2008 18:25   |
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Yes I do still mix sometimes on my mixer.
More umph.
More blending mystery.
More headroom.
More pleasing distortions.
Faster.
Fuzzier...not as clear as the ITB thing.
No weird low end and high end...weirdness.
Cheers
You, Flock of Seagulls, know why we're here?
Nick Sevilla
www.nicksevilla.com
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| Re: DAW & Desks: Is ANYBODY actually still mixing on their desk? [message #326661 is a reply to message #326517 ] |
Sat, 22 March 2008 11:36 |
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| noeqplease wrote on Fri, 21 March 2008 19:25 |
Yes I do still mix sometimes on my mixer.
More umph.
More blending mystery.
More headroom.
More pleasing distortions.
Faster.
Fuzzier...not as clear as the ITB thing.
No weird low end and high end...weirdness.
Cheers
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Yes.
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| Re: DAW & Desks: Is ANYBODY actually still mixing on their desk? [message #331731 is a reply to message #331596 ] |
Tue, 08 April 2008 18:19 |
 PaulyD
Messages: 665
Registered: August 2004
Location: Northern California |
Gold Member |
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| mustgroove wrote on Tue, 08 April 2008 06:52 |
The theories featured in this thread aren't just limited to Pro Tools, and apply equally to 32bit floating point DAWs, don't they?
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Yes, they do.
A thread related to this one can be found at the top of the Whatever Works forum. The entire thread is a worthwhile read, but if you want an explanation as to why this is, jump right to page 8 of that thread and read astroshack's post.
Paul
Sceptre - Katie Jane
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| Re: DAW & Desks: Is ANYBODY actually still mixing on their desk? [message #344215 is a reply to message #344212 ] |
Mon, 26 May 2008 10:25 |
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| Elbowgeek wrote on Mon, 26 May 2008 08:17 |
If I can just jump in with the experiences of a recording engineer still very much with training wheels on...
I asked an experienced engineer (he'd worked with some pretty big names) about recording levels, and his answer was simple: hot as possible, and don't be afraid if you get a few "overs" and redlines, but keep those to a minimum. But make sure you're using crap inputs; on my MOTU 896 workhorse I could push the levels regularly into red territory and get almost analog smoothness to the distortion, never any digital nasties.
I just hope the Firestudio I replace it with will have the same qualities.
Otherwise, I've learned a megatonne about the deeper aspects from the great, experienced members here - I'll be reading through this thread for a long while yet.
Cheers
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Just to put a wrench in ye olde "recording less hot at 24 bit" thing that's floating around.
I always try to optimize the recording before it hits the converter, and try to hit a good enough leve that will allow the most dynamic range going through the converters.
To me this means reaching around -3 on peaks, and is an occasional peak goes higher, then no worries. This usually ends up meaning I have an RMS level good enough to capture the sound as best as I can. What happens, IMO, is that I end up with a great recording, and then I can use the faders to set up the basic levels, instead of trying to the the very stupid (IMO) thing of trying to aim for all faders near unity level, and recording each instrument at different levels, ie. "mixing" by changing the recording levels. This is a great way to increase bad recordings, and decrease fidelity.
Cheers
You, Flock of Seagulls, know why we're here?
Nick Sevilla
www.nicksevilla.com
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| Re: DAW & Desks: Is ANYBODY actually still mixing on their desk? [message #344223 is a reply to message #344215 ] |
Mon, 26 May 2008 10:59 |
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Tomas Danko
Messages: 3288
Registered: May 2004
Location: Stockholm, Sweden |
Platinum Member |
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| noeqplease wrote on Mon, 26 May 2008 16:25 |
| Elbowgeek wrote on Mon, 26 May 2008 08:17 |
If I can just jump in with the experiences of a recording engineer still very much with training wheels on...
I asked an experienced engineer (he'd worked with some pretty big names) about recording levels, and his answer was simple: hot as possible, and don't be afraid if you get a few "overs" and redlines, but keep those to a minimum. But make sure you're using crap inputs; on my MOTU 896 workhorse I could push the levels regularly into red territory and get almost analog smoothness to the distortion, never any digital nasties.
I just hope the Firestudio I replace it with will have the same qualities.
Otherwise, I've learned a megatonne about the deeper aspects from the great, experienced members here - I'll be reading through this thread for a long while yet.
Cheers
|
Just to put a wrench in ye olde "recording less hot at 24 bit" thing that's floating around.
I always try to optimize the recording before it hits the converter, and try to hit a good enough leve that will allow the most dynamic range going through the converters.
To me this means reaching around -3 on peaks, and is an occasional peak goes higher, then no worries. This usually ends up meaning I have an RMS level good enough to capture the sound as best as I can. What happens, IMO, is that I end up with a great recording, and then I can use the faders to set up the basic levels, instead of trying to the the very stupid (IMO) thing of trying to aim for all faders near unity level, and recording each instrument at different levels, ie. "mixing" by changing the recording levels. This is a great way to increase bad recordings, and decrease fidelity.
Cheers
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Part of the reasoning for low levels is because a lot of AD-converters do not come equipped with a robust analogue front end which often means it starts cracking up when you approach full scale and start to sound harsh and constipated.
And that with 24 bit dynamics you can lower your levels and still get ALL the practical dynamic reach you really need.
I guess you can probably make a great sounding album if you occasionally peak at around -3 dBfs instead of -12. Whatever works for you, or for me as always. 
"T(Z)= (n1+n2*Z^-1+n2*Z^-2)/(1+d1*z^-1+d2*z^-2)" - Mr. Dan Lavry
"Shaw baa laa raaw, sidle' yaa doot in dee splaa" . Mr Shooby Taylor
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| Re: DAW & Desks: Is ANYBODY actually still mixing on their desk? [message #344343 is a reply to message #60868 ] |
Mon, 26 May 2008 17:40 |
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And it's been said several times already, but don't forget that George Massenburg often even recorded on ANALOGUE at much reduced levels.
There is a reason for this, in any medium.
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