But if others do it, I guess I can do it to.Multi-track recording With four XLR/TRS combo inputs, a 3.5mm stereo input, and a Zoom mic capsule input, the F4 can record up to six discrete tracks with an additional stereo mix track-all at resolutions up to 24-bit/192 kHz.Ĭamera return Input 5/6 can be used as a camera return for monitoring only. So the transfer person, not an audio person in an audio suite, mixes the stems to create the stereo mix.
#Is stereo mix plus safe plus#
The stem elements include a stereo M&E plus dialog(minus narration), a plain M&E, a stereo mix and the one to one the tracks that are on the DA88. That DA88 is used by the transfer house that does the transcode from PAL to NTSC to create the Stereo mix and the stem elements that are required on the 3 digibetas that are the deliverable's for the network. Then (as has been done in the past on this series), I create only a DA88 with stems. So with that in mind, let no error be tracked back to your hand. MF's suggestion about laying a Lt/Rt composite reference to tracks is a good one though.Īnd finals being done in transfer bays happen ALL the time, it AMAZES me how often music is swapped out on these sorts of shows- being able to sit through the printmaster is sometimes a luxury that cannot be afforded. If there are M&E requirements, the stems are really needed.
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It is at the discretion of the Post Supervisor who approves your cheque. The relative value of mixing to stems is not usually at the discretion of the re-recording mixer. You then mix it into whatever the deliver requirement demands. You are receiving on camera audio off of the Digibeta, and a DA88 with additional picture editor audio- you then do a mix with these sources. You are implying that you are already receiving stems, so the body of this discussion is a bit confusing too- are you making stems from stems? You're description of the content you are receiving is quite unclear- Is the material on the DA88 pre-mixed? Is it Avid Tracks? what? Would you trust someone in a dubbing station to make the final mix? Do you all have any experience with this type of delivery? I don't think that different summing structures make a huge difference, but I know summing in protools will sound different than summing through a Behringer mixer. I also know that the summing sounds good, because it is the path that I mixed through. I know that my mix will be legal and I can hear what (if any) effect the limiter has on the quality of the audio (Sometimes I even like the sound of a stereo mix limiter pumping away). I also like using a limiter on the stereo fader. I like the idea of laying back to the air master myself(and even checking that the other stems sound good). I know that is what stems are supposed to be able to do, but I doubt that they ever sound like they did when they were originally mixed. And the way they have created the stereo mix in the past is to make it by mixing the elements from the DA88 together.
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The video gets transcoded from PAL to NTSC at another facility after I do the mix. There are multiple deliverables(3 DigiBeta tapes and a DA88).
#Is stereo mix plus safe series#
I am starting to mix a TV series and am working with some entrenched workflow that is not my favorite.