DETAILED
DESCRIPTION
The
MixDream design plan provides for the integration of
analog equipment in digital production environments
and stereo mixdown at the analog level.
This concept
offers high-grade analog summing without panorama
and fader controls, in turn allowing an engineer to
retain the entire scope of his computer automation.
One MixDream can sum up to 16 audio tracks to a stereo
signal, and should the need arise for more than 16
tracks, several MixDreams may be linked together.
The MixDream
discrete class A technology is based on a 60-volt
rail (+/- 30V). Newly developed circuitry, based on
the most modern analog components, guarantees an extremely
high slew rate, a low noise level of -97dBu (A-weighted,
all channels active) and a dynamic level of over 125dB.
Thus the MixDream easily realizes the technical level
of the best analog consoles.
Analog
vs. Digital Summing
Nowadays, many are asking whether analog summing is
better than digital summing. But perhaps the real
question is whether digital summing better than analog
summing? We at SPL don‘t know of anyone who
says so. We do know that summing with the MixDream
creates an amazing signal depth, precise localization
and a wonderful stereo imaging. Moreover, the addition
of individual instruments results in soft and pleasant
transitions. These are analog summing differences
that we hear—and that you can expect.
However,
in contrast to simple summing devices the MixDream‘s
insert and processing capabilities clearly spotlight
a factor that is most important in a quality mix:
while quality summing is the basis of a good mix,
quality processing in the mixing process has the biggest
influence on sound. When engineers discuss the qualities
of highly-acclaimed analog consoles, it is very often
the superior analog processing potential of such consoles
that is an integral part of such “shop talk”.
The MixDream
now allows DAW users to exploit this potential with
maximum comfort and uncompromising quality, ensuring
that nothing can stand in the way of the engineer‘s
having the best of both analog and digital worlds.
Reduction
of A/D conversions
Calculated with 16 units for all MixDream inserts,
14 A/D conversions can be spared in the summing process:
DAW insertion of 16 analog units through A/D-D/A converters
requires 32 conversions, while with the MixDream only
the summed signal needs to be converted (18 conversions).
Especially the critical A/D conversions are reduced
to a minimum and the analog effects are summed before
any (in principle not loss-free) A/D conversion has
to be made at all.
The
MixDream in Mastering
Multi-channel sessions can be mixed and processed
in analog, something that may also be of special importance
when an engineer wishes to upsample to SACD or DVD-A.
Controls
for stereo summing
• Adjustable insert level
• Stereo expansion control with infinite gradation
• Adjustable analog peak limiter
• Adjustable outputs with added in/out switching
of Lundahl transformers
Processing,
but you choose the mix
Each input channel is equipped with a signal-present
LED and a switchable insert-loop. A three stage toggle
switch per channel allows the choice of whether or
not a channel should be added to the mix buss.
With the No-Mix switch control, a channel may be removed
from the mix while remaining available for re-recording
through its Direct Output. The No-Mix function can
be particularly useful, for example, when the engineer
wishes to add track compression. The compressed signal
can be re-recorded to the DAW for level automation.
This is also known as “bounce back” capability,
and without it, compressed signals could not employ
level automation, since the compressor is inserted
post fader.
Common
Bypass for all Inserts
All Inserts may be switched on or off globally.
Connection of Sampler, Keyboards etc.
Along with DAW audio tracks and effects machines or
processors in the insert loops, samplers, keyboards
and expanders may also be connected directly to the
MixDream. Then the Midi tracks need only be added
in the DAW project, the outputs (for example, from
a keyboard) are then routed directly to the MixDream.
Mono
Controls
To save converter channels, channels 1 & 2, 3
& 4 and 5 & 6 may be switched to Mono so that
two signals can be converted by a paired D/A. In this
case such signals are characteristically chosen which
would receive a more central placement in the stereo
mix (e.g. kick, snare, lead vocal, bass). All channel
pairs must otherwise be panned hard left/right in
the mix.
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Applications
In use, the MixDream requires almost no departures
from an engineer’s usual working mode, so that
all his trusted DAW features and familiar working
routines remain available while the MixDream seamlessly
expands his aural mixing palette. The following are
a few tips for typical applications.
Simply
Summing Up
This, of course, is the most basic way in which you
can benefit from an analog summing device. In the
process each individual DAW track is transferred through
D/A converters for summing in the MixDream. It goes
without saying that only identical high quality converters
can be recommended.
With mono signals one should use inputs 1-6, as these
channels may be switched to mono mode. In the DAW
such signals must be panned hard left or right if
you want to confine them to a single D/A converter
(thereby avoiding the waste of having to use a D/A
pair for one mono track). Because a production often
consists of more than 16 tracks, mono tracks like
vocals, drums, synths, guitars etc. may be routed
through a common D/A output. By switching out the
analog inserts, channels can be used as though they
had not left the DAW (except for summing). Such a
capability means that—and particularly in track
arranging—you can recall any of your automated
DAW settings.
Summing
with Master Insert, Stereo Expander and Peak Limiter
When you have completed project and wish to mix it
down to CD or other mastering medium, then is the
time to apply the MixDream’s powerful mastering
functions. The Master Insert is most useful in cases
where a combination of compression and/or equalization
are needed, as here you can control signal levels,
the Insert Send level being the effects processor
level control.
The
Stereo Expander can also add even greater width and
depth to your mix—as the panorama and width
won by analog summing can be undergo broadening effects
from the “classic” to the “astounding”.
As
a final link in the chain, the analog Peak Limiter
can play a decisive roll in protecting the following
A/D converter from overs. On the one hand this limiter
avoids clipping from peaks, and on the other, it may
allow for a generally higher loudness level. The degree
to which this may be applied depends greatly on track
characteristics. If the track has overall a narrower
dynamic range, then less limiting to avoid distortion
is both sensible and highly advisable. In tracks with
large dynamic peaks such as those from percussion,
you can achieve up to a 6dB overall loudness boost.
Summing
with Single Channel Inserts
Using these individual channel inserts effectively
means that you are realizing the MixDream’s
full potential. As the name implies, you can employ
a complete spectrum of analog processors (EQ, compression,
gates, etc.) to each individual channel. But to be
as simple and effective as possible, you must also
coordinate this processing and MixDream assignments
in the most logical way. One example we have mentioned
is the use of channels 1-6 mono switching capabilities,
a more specific case of which might be an SPL Transient
Designer for kick drum and snare on channels 1-2,
compression for bass on channel 3 and compressor/EQ
on a channel 4 vocal (in the last case, you see that
chained processing is possible for individual channels).
You may leave such processors in a standard hookup
of your choice, toggling them into the mix whenever
you need them. Within the DAW you can then take advantage
of software flexibility, routing each output to a
specific insert in your MixDream hookup. During further
mixing such processing proceeds hand in hand –
with both the MixDream and DAW—so that if activating
an insert EQ results in levels that are too loud,
the channel volume may be lowered in the originating
DAW project.
You
can, of course, also connect reverb and multi-effect
processors to the MixDream inserts, routing desired
DAW signals to corresponding outs via aux sends. At
the same time, you can employ the No Mix function
as mute for monitoring individual tracks as solo.
In such applications your Direct Outs become very
important, as a typical DAW aux send will be pre-insert
(that is, the reverb portion of heavily compressed
drum set signals would not be compressed.). In such
case a channel’s direct out would be routed
back through the A/D converter. The converter channel
must be set to monitor mode in the DAW in order to
use it as an aux send. Now the send levels can also
be processed with the DAW’s automation features.
This procedure retains both the convenience of digital
control and the superior analog sound you desire.
Should
you suddenly need to listen to another recording or
do an additional take during mixdown, the Inserts
On toggle offers a quick, efficient way of temporarily
defeating all external processing. In such cases,
you only need to reset the mono switches. Otherwise
your entire processor routing remains in the background
for a quick return to previous work.
Summing
of Subgroups
A typical production environment will often have more
than the 16 channels of a single MixDream. There are
several possible solutions to this:
| 1.
|
Well,
you could buy additional MixDreams (which we confess
would make us happy—and we’re sure
would not disappoint you), or: |
| 2. |
Sum
your grouped tracks with the MixDream itself.
|
For example, if you’ve done a chorus backup
in 16 solo tracks, you can adjust your panning in
the DAW, then route this to the MixDream for an analog
summing in stereo, which can in turn profit directly
from the MixDream Master Inserts, Stereo Expander,
and Limiter. Having a pro EQ ready for the Master
Inserts means just about every possibility is covered.
We
strongly recommend initially processing spatial and
loudness-related characteristics with the Stereo Expander
and Peak Limiter in the subgroups (including tracks
with such as guitar overdubs, drums/percussion, keyboards,
and so on). You can apply more extreme settings with
subgroups than in stereo mixes, achieve more differentiated
processing and avoid unnecessary affects to other
groups.
In
our experience, the above procedure can yield a much
improved sonic quality over a simple 16:2 summing
(especially of digitally summed subgroups)—and
also leaves many doors open for creative audio work:
Through extreme limiter adjustments you can turn an
innocuous sequencer loop into a heavy duty techno
beat, while more severe stereo expander settings can
move an organ sound far outside the normal stereo
image, and so on. A further advantage is that your
DAW must only play back a few stereo files and thus
is faced with less track processing. Of course, you
keep your original 16 tracks for possible further
work, but these are muted when listening to the results
of your current MixDream summing.
Bounce-Back
Function
When you have your DAW, 16 A/D-D/A converters, MixDream
and processor hardware set up you can do repeat takes
with individual or multiple tracks—what is nowadays
often referred to as “Bounce Back”. This
procedure plays an important role if you wish first
to process a track in analog (for example, drum kit
compression), but later on wish to apply the results
in further DAW automation.
In
such work you are well advised to avoid latency problems
by routing the complete mix to a stereo out while
simultaneously routing the signal to be processed
to yet another stereo out. You then can hear everything
in the correct time frame and can thereby be sure
of correct processing results.
For the processing of the signal itself, two possibilities
suggest themselves:
1. Over the corresponding channel’s Direct Out
2. Over the Master Output. Here you must be careful
to toggle your No Mix switch to avoid having the entire
mix included with the recording.
Inserted
processors may be routed as DAW inserts via the Direct
Outs. At the same time, the output signal must be
time adjusted so that in the DAW it is also mixed
without latency problems. In this case, be sure to
toggle the Insert switch to No Mix.
Discrete
Mastering
Normally a studio mastering engineer requires that
a stereo file be made available for his or her work.
But in such a mixdown, any problems (for example,
significant variations in volume among instrumental
subgroups) will mean equally significant limitations
to your final mastering options.
Instead, however, if one masters from a discrete mix
with four or eight stereo subgroups, each of these
can be adjusted just as easily and quickly in the
mastering process—to the extent that even individual
groups can be tweaked with different processing. Your
final result is clearly better and the time needed,
minimal—especially since it is less likely that
a new mix will be called for.
The
MixDream is predestined for such applications, as
we’ve planned its superior sound quality for
just such occasions. Moreover, input channels can
be used in mastering as input toggles to select different
contributing tracks. Finally, different D/A converters
may be compared so that you can be sure of selecting
those most suitable for your present project.
Linking
Several MixDreams
An expansion connector provides for a second MixDream
input should 16 channels not suffice. This second
MixDream’s master output—as well as it’s
Insert Sends—may be used. In such cases, it
is important that you set the Insert Level of the
second MixDream to 0dB to avoid a global difference
between the two.
If
more than three MixDreams are to be summed, we recommend
to employ a further MixDream as master—otherwise
the signals from the first MixDream (as the worst
example) would unnecessarily be summed in each following
unit.
If you wish to keep the channels with mono switch,
use channels 7 to 16 at the master unit for connection
of slave units. The respective Insert switches must
be set to the Off position.
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