Bounce Back To Analog 24 Trk For Mix...Worthwhile?

[sizzilini]

I just received 5 songs to mix that absofriggenlutely need to sound great. This is a rock band. Guitars, drums, bass. Problem is the basic sounds are extremely brash, bright, and cold. I've toiled with the idea of bouncing the multitrack back to analog 24 track for mixing. Is this worthwhile? Obviously what I am trying to achieve is warmth, roundness and cohesion. I'll be mixing through an SSL G to analog 1/2", and I have an arsenal of tube compressors and Fatso type gizmos to help me along the way.
I've knocked this idea back and forth everytime I mix a "direct to Pro Tools" session but have yet to have the opportunity. Please let me know if any of ya'll have done this and what results I could expect. Thanks!

[ndlsd]

Or you could just try Cranesong's Phoenix. It's absolutely fantastic.

[jeremyroberts]

Another vote for Phoenix. If used intelligently (RTFM), it can bring lifeless to life (assuming the song and performances are good).

[Kenny Gioia]

If the machine is just sitting there, by all means try it.

Let us know.

[KingFish]

I'll be mixing through an SSL G to analog 1/2", and I have an arsenal of tube compressors and Fatso type gizmos to help me along the way.

Start tweaking fron PT i/o straight through the SSL, try to warm it up w/ the channels / outboard inserts, and if it's not giving you the results you wish, try the 2" / 24tk on a song.

The SSL, outboard gear, 2", 1/2" are ALL going to add noise, if you're going to be "Squashing the crap" out of things, obvioustly be carefull of your noise floor, and hit the tape hard on all counts (within reason).

I recently mixed a session, much similar to how you are describing... tracked in Pro-Tools, the producer wanted it multi-track printed to tape, and hired me to mix it from there.

I mixed it from a STUDER A800 MKIII 24 track, through an SSL 4080 G+ console, the producer liked the EMT Outboard reverbs... everything they picked was generating noise, it was a bigger battle then mixing the song... ducking the noise.

They didn't hit the tape hard enough when they did the transfer (I should have been brought in to do it, but wasn't)

By the time it was mastered, there was too much noise for my liking... they were happy, which is all that really matters I suppose... however....

If I were the one to have made the desicions... I would have tracked to 2" tape, transfered to Pro-Tools to edit, do some overdubs, and mix through the SSL straight out of pro-tools.

I don't know that I'd on my own, ever try to "Rescue" brittle, poorly recorded audio, by multitracking it back to tape.

My feelings are, that you have already lost the dynamics, and transients that you would have gotten to tape, had you tracked it to tape, it's just "Not there"

You're just recording a "Lacking source" to tape.

I personally feel, you'd be better off, at this point, keeping the signal between PT and the SSL, and hit that 1/2" nice and hard.

I still Cut to tape once in a while, and still adore the characteristic, depth, warmth, and saturation it gives my recordings when I do, But I personally feel that all of that magic, happens with the relationship between the Mic capsule -> Pre-amp -> Tape Head -> Tape

I don't feel it is the same sonic occurence, or even close for that matter, going from digital multitracked sources To multitracked tape.

as said above... if it's sitting there... try it... try everything... I would... and usually do !

and let us know your findings.