Post by Deleted on Aug 4, 2013 16:59:47 GMT -6
I've tried to explain this a couple times to other guys and hopefully I can get the idea across. Simply put, track through the plugins as if they were hardware. On a typical drum tracking scenario I record a test run flat and then start getting those sounds to gel with plugins (after I've exhausted getting the best sounds possible through tuning, mic placement and choice), once I've got that I move those settings over onto the input channels in Cubase and print them in tracking. VCC gets used in tracking (Neve Setting) and then later at mix (trident/api setting). Tape gets printed in tracking as well as some other plugs. It is MUCH easier to mix good sounds than to make them and then try to sculpt them around each other. I'm sure this is doable in any DAW but it doesn't get discussed that much and usually ends with the idea that with the DAW you have unlimited possibilities track it flat and shape later. I've found the more comfortable and confident I've gotten with tracking shaped sounds the easier the mixing has been. The client is also considerably more impressed when you can just push the faders up LCR pan everything and it sounds really good. I'm going to be throwing some ideas down with a bud tonight and I'll post a faders up mix tomorrow possibly.
It's all in the principals. Old school records hit consoles twice (once in tracking, once at mix) and tape often twice as well. They also went through all the outboard eq and compression twice. If you can apply these methods in the DAW maybe you'll notice less of a difference in workflow and sonics.
Here's a screenshot of the inputs next to their channels.
It's all in the principals. Old school records hit consoles twice (once in tracking, once at mix) and tape often twice as well. They also went through all the outboard eq and compression twice. If you can apply these methods in the DAW maybe you'll notice less of a difference in workflow and sonics.
Here's a screenshot of the inputs next to their channels.
