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Stereo master in recording studio4/6/2023 ![]() ![]() ![]() Half inch analogue at 30 ips can go up to 25kHz and beyond, and quiet signals can still be clearly heard below the already low noise floor - even without Dolby SR noise reduction. The frequency response is in fact better than DAT or CD which can only manage around 20kHz at the top end. Such a machine isn't totally transparent but has a definite sound of its own, and it's a sound that producers like, particularly if a recording has been made on a digital rather than analogue multitrack. Top studios will have a slightly worn but well maintained Ampex or Studer stereo machine that runs at a speed of 30 inches per second (twice the 15 ips long considered the professional norm) and takes half inch rather than quarter inch tape. They don't used a battered old Revox however. In the meantime, many producers are opting for the 'old fashioned' alternative of analogue reel to reel tape. It won't be too long before we see 20 or even 24 bit stereo formats in the studio on a regular basis, although it might be some years before any one is accepted as a standard. The engineer therefore has absolutely no headroom to play with, and inevitably there is a margin of unused capability that makes the recording not quite as good technically as it ought to be. For one thing it is only 16 bit, which means that its sound quality isn't any better than the CD people will listen to at home. ![]() ![]() As expressed earlier, Studio One doesn't allow feedback routing so the Main output won't show up for selection in the track destination list until you switch it's input source away from Main.Learn how to become a better producer in your own home recording studio >Īs you know, most multitrack recordings are mixed to DAT these days, but at a professional level, DAT isn't always considered to be entirely satisfactory. To play back that track after recording, change it's input away from Main to None and set it's output to Main. The track will record directly from the master bus.ĥ. You can't monitor that signal directly from that track in this case but use the meters for activity confirmation. Put the track into record and turn on the monitor button to see the meters and record. Now you can assign the input of a stereo track to the Master Bus in any song by choosing it from the Outputs folder in the input source list.Ĥ. This is necessary because Studio One doesn't allow feedback routing, so the only way that the Master out will become available as an input source is if the track output is not assigned to the master bus.ģ. Now that you have a dummy output to assign those kinds of source tracks to, you can record directly from the Master Bus in real time like with tape or like Pro Tools, to any stereo audio track.Ģ. Click the Make Default button near the bottom so that the dummy output will be part of your default I/O setup for every new song and hit OK and close the dialog. Don't click any of the assignment boxes, leave them blank as shown in the image.ĥ. As shown in the image below in the Outputs tab, create a new sub-out by clicking the Add Stereo button at the bottom of that window. Click Audio I/O Setup and select the Outputs tab.Ĥ. Click the Song Setup button on the bottom of that dialog window.ģ. To record the master bus mix back to an audio track in real time follow the steps below.Ģ. You can record from any output or sub-output if you configure routing that doesn't create a feedback loop. Studio One 4's sub-output busses are now also audio recording sources. ![]()
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