| legal alternative route for lack of support [message #59173] |
Mon, 17 October 2005 08:23  |
Fred Bloggs
Messages: 1
Registered: October 2005
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Junior Member |
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/>
>> Tony
>>
>
>What I was doing…in theory.
Short version.
Compose in DP or Logic because of MIDI strengths, ADC and moving fader automation.
Use good outboard to get the sound before entering the DAW.
Keep A/D and D/A conversions to a minimum – try to stay digital once converted.
Use Paris for mix bus and PC/Paris effects hosting.
Use ADAT optical between DAWs.
This has worked fine but left me looking for a way to integrate 96K audio,
which I like primarily for the improvement in plugin sound and the dramatic
improvement in some soft synths. (I also like the improvement in acoustical
recordings such as voice, but it is much less dramatic there, particularly
if the final results are 44.1.)
When I looked at the way I actually worked, it turned out that I was going
out of DP to hardware and returning to DP for most of my critical channels.
In fact for some mixes, I was going out and back on almost every track. Sometimes
I froze the tracks so I could utilize my best converters, and sometimes I
set the loops up during mixdown. The point is I was making an additional
A/D, D/A pass on almost every track.
New Method.
With the realization that I was making the extra conversions anyway I switched
to:
Analog out of DP.
Hardware EQs and effects after the DP outputs when needed, then analog back
into Paris.
This turns out to be the same amount of conversions but allows me to work
in DP at 96K.
I uses a combination of my Mytek 8X96 8 channel D/A plus my 2408MKIIIs for
D/A, and my Mytek 8X96 8 channel A/D plus my Paris 24bit cards back in.
I usually pick the most critical channels for the Myteks but I sometimes
prefer the warmth and softening of the Paris converters.
So now I have the 96K sound that I like along with the Paris Mix engine at
44.1.
The small quality reduction I occasionally thought I heard using 20bit optical
is gone.
The extra conversion is not extra after all.
You may know that some mastering engineers use this method to convert to
44.1 rather then use software samplerate conversion. No Dither.
I may try to h
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