Rendering mix directly from session

[MoreSpaceEcho]

God I love it when everyone posts what I'm thinking so I don't have too....

carry on!

yes indeed.

[RefD]

God I love it when everyone posts what I'm thinking so I don't have too....

carry on!

yes indeed.

Vulcan mind meld in progress, please secure your katra.

[mcsquishytooshy]

my tests were done with Pro Tools 5.2.1 software. I have no clue if this has been remedied

I can't get the time to adjust properly on my sundial; it wont sync up to the atomic clock.

[Mark Alan Miller]

my tests were done with Pro Tools 5.2.1 software. I have no clue if this has been remedied

I can't get the time to adjust properly on my sundial; it wont sync up to the atomic clock.

Here's to the quote function screwing up again.

[JGriffin]

my tests were done with Pro Tools 5.2.1 software. I have no clue

if this has been remedied

I can't get the time to adjust properly on my sundial; it wont sync up to the at

omic clock.

Here's to the quote function

screwing up again.


Yup.

[T-rex]

Related to this, I have a project that's just been mixed in Los Angeles. The mix engineer is going to be supplying 24-bit, 44.1Khz files of the mixes in a bounced format.

My dilemma now at this end is one of the following:

1. Do I create a new Pro Tools session and import the tracks and then play them out with stock Pro Tools converters to 15 ips, 1/4" 2-track?

2. Do I convert the tracks to 16-bit and use 'Liquidplayer' as a playback device because even at 16-bits it sounds AMAZING? Unfortunately, Liquidplayer does not support 24-bit files.

3. Do I have the guy in Los Angeles rent in a tape machine to bounce the mixes directly at his end and play them in 'real time' from the multi-track session?

4. Do I rent in an Apogee or UAD stereo converter for D-to-A out of Pro Tools to go to tape?

I am confused. The album was mixed by a mixing engineer in LA right? If they mixed it to 24 bit files, then what are you asking? They were the mix engineer and delivered final mixes, send those to mastering.

I don't understand what you could possibly do to finished, bounced 24 bit files to possibly make them sound better before mastering? Anything you do will simply be another generation between the finished mixes and mastering. They are what they are at this point. In retrospect, you should have had the mix enginieer bring in a bunch of assistants, a couple usb hubs, twenty mice and had them all mouse down on every plug in used while recording it to tape (and simultaneously having interns blow on the analog gear and turn the soar knobs back and forth ever so gently).

Seriously though, if you are concerned about bounces, have the mixing engineer dump to tape and send those to mastering.

And clicking on a mouse during bounce to disk changing it's sound means one of two things:
1.) You have totally lost your mind. Seriously.
2.) You should run, not walk, away from whatever version of Pro-Tools you are using. Run, run away now. Don't look back, just go. . .

[darjama]

I've been testing out some of the ideas behind Jeff's theory, and I thought I'd share my findings:

1. Playing computer solitare while bouncing down results in your mixes sounding like they were done on a 16-track 1/4" machine. But if you lose, the it sounds like the pinchroller is worn out.

2. Mousing over effects makes them sound totally different only if your mouseball has been ringer using a green marker.

3. The mixes with the best stereo imaging are the result of simultaneously searching google images for "goatse" -- but this is definitely not recommended. Don't say I didn't warn you.

[Jay Reynolds]

I've been testing out some of the ideas behind Jeff's theory, and I thought I'd share my findings:

1. Playing computer solitare while bouncing down results in your mixes sounding like they were done on a 16-track 1/4" machine. But if you lose, the it sounds like the pinchroller is worn out.

2. Mousing over effects makes them sound totally different only if your mouseball has been ringer using a green marker.

3. The mixes with the best stereo imaging are the result of simultaneously searching google images for "goatse" -- but this is definitely not recommended. Don't say I didn't warn you.

Also, I kneel down next to my g5 and whisper "billybillybilly...this is a big one billy" before the bounce. Once the bounce is finished, I jump up and yell, "Hey! We're all gonna get laid!"

[T-rex]

Also, I kneel down next to my g5 and whisper "billybillybilly...this is a big one billy" before the bounce. Once the bounce is finished, I jump up and yell, "Hey! We're all gonna get laid!"

"The old billy baroo. . ."

[RefD]

Also, I kneel down next to my g5 and whisper "billybillybilly...this is a big one billy" before the bounce. Once the bounce is finished, I jump up and yell, "Hey! We're all gonna get laid!"

"The old billy baroo. . ."

RED FARTS!

[leigh]

Great suggestions, guys! That's why I read this message board, to get creative recording ideas that you just don't find elsewhere.

The BillyBillyBilly thing TOTALLY WORKS. My stereo field is WAY MORE SONIC now.

Also, I keep jiggling my trackballs while bouncing for more clear and transparent plug-in attacks.

[cgarges]

My stereo field is WAY MORE SONIC now.

LMAO!

CG

[RefD]

Also, I keep jiggling my trackballs while bouncing for more clear and transparent plug-in attacks.

*goes blinder*

[MoreSpaceEcho]

oh man. can we take this one to 10 pages?

[RefD]