Last time I wrote about the multiple workflows we must maintain in our studios. Today I introduce you the second workflow which require an even better mixer than the first one.
Second workflow – have to be lucky and nail the mix
This method still includes the big Studer Vista. The first part is the same as with the 1st workflow, the DAW gets each input unprocessed, additional groups and the main mix being recorded simultaneously with the channels.
Here comes the part which involves luck and a very good day so you really, I mean really nail the mix. This means:
- You’ve got a stellar sounding mix from the first frame to the last
- Haven’t missed anything, no accidentally left out instruments
- The mix is almost completely r128 ready
- No one needs serious tuning, replay, etc.
If all these things are true, and only then, you can choose this workflow. If this is the case, you’ll already have your mix in the DAW, so now the only thing left is some mastering.
I know in a perfect World a professional mastering engineer would treat your mix, but here we don’t have the luxury and time. So, the mixer is going to be the mastering guy as well. To be honest, the thing is, if you really have a almost perfect mix, the only thing you need to do is polish the already stellar stereo or surround mix and make it completely r128 compliant.
For this, it’s your choice if you would like to use some high-end analogue hardware or stay completely in-the-box. It’s completely your decision, but watch your back, the deadline is approaching.
This second workflow (obviously) only works with some classical concerts, small acoustic shows and easier galas and talk shows.