Twice through the Finalizer?

[dBHEAD]

I know if you put a mix through the finalizer twice it tends to sound terrible, especially if you're using very heavy compression. However...

I'm wondering if anyone has ever tried recording individual tracks through the finalizer and then putting the final mix of those tracks through the finalizer. If so, what did it sound like?

[Jules]

I've finalized stuff twice (mixes) and I've known it was bad voodoo, but I still did it, perhaps I will be reincarnated as a frog for it...Think about it, people get up to some rediculous plug in chains all over their mixes and the master fader, the Finalizer is digital and well made..... SO? Go figure..
Jules

[ProTools4]

For mastering the last distorted rock guitar "Emo" trio I had in the studio
I did the fallowing for mastering.

Channel Strip on the mains out
Feeding SLAMMed Avalon 737s
Recorded back into PT

Hope, I dont go to hell 4 it also.

CS details:
-4db reduction on loud source
+2Db at 3K ( needed a touch more gtr bite )
737 details:
2 DB reduction
Meters +2 on soft source
Meters pegged Way PLUS4 on loud source

Sounded great till I bounced to disk in PT.
Nice Square Overveiw - No dynamics at all. Theres a time and place for NO dynamics and this was it. Some of the low end, punch and detail went away. What gives. Yes, I have seen the posts on Bounce to Disk. I use CD-R not 1/2" or Dat. How bout you?


------------------
Tad Banzuelo
[email protected]

[Jules]

UV22 16 bit DAT via apogee / finalizer.

I am interested in :

DA78 tascam 24 bit 8 track
Masterlink 24 bit CDR

Jules

[Eric.D]

I do it all the time, With lot`s of care.
Example; after i finish a major editing
job on the drum tracks with
hundreds of regions & fades ,
across 10+ tracks.
I send each of those tracks out and
through the finalizer, with custom
settings of light comp/soft limiting
for each track type, back into PT.

Then realigning back into place using the
good old poor mans smpte trick, stereo
pairs for overheads & room mike tracks.

This method, if done carefully, is
superior over the consolidate or bounce
to disk methods.

Eric
www.peaksound.com

[Eric.D]

What you do is create a short transient
click (metallic), copy it across all
the tracks. I use the option,control,drag
method for that, then mark it at sample
level so the begining of the waveform
touches the marker, do it again at the
end of the song.
Make sure when rerecording overheads/amb
tracks they are done at the same time in
pairs (stereo) and are grouped, Also
make sure you record the clicks.
Then just move the tracks at sample level
until each of their clicks lines up to the marker.
This is more accurate then smpte,but takes
a little time and patience.
Eric
www.peaksound.com

[Jules]

What benefit are you getting by this track by track prosessing?
Jules

[Eric.D]

Probably not much, i use a very light
comp/soft limit setting, normalizing
the signal a little and using the look
ahead delay at 10ms.
I don`t trust consolidate or bounce to
disk command. The tracks tend sound
slightly more detailed and fatter.
Eric
www.peaksound.com

[dBHEAD]

Thanks for the responses.

Eric, the method you describe for drums sounds quite interesting. I'm wondering, though, if you ever get any phasing problems because the tracks might be off by just a couple samples? If so, how do you deal with it?

By smpte I assume you're referring to time code. I've worked with time code for video editing for years, but I'm not familiar with some of the idiosyncracies of how it works with Pro Tools. Is it accurate down to the sample?

[mojossl]

Never through a Funeralizer.