#Rnc stereo master professional

No thermal noise on passive mode due to custom-developed balanced summing network.Ībsolutely repeatability DAW control: Volume Panorama, EQ, and effects sends of your mix from within the DAW, and send as many as 4-8-16 different tracks or submixes to Summing Mixer.

Summing mixers add real analogue harmonics and punch to the sound of your productions, letting you easily mix stems output from your DAW in the analog domain.įully balanced dual stereo solid state network & switching network from input to output.Ĭan be left “free” unconnected inputs 4-8-12 or more inputs! If you want to breathe life into your digital tracks, a summing mixer is the best way to do it. This function allows to SEND master signal to external processors like EQ, Comp, Limiter, then RETURN to master out (print / record)

#Rnc stereo master professional

Professional audio system requires stereo balanced connectors like xlr trs d-sub db25 This function enable to use different kind of mic preamp instead of internal ampfreely can use a completely different sounding amplifier for gain makeupĬombining all your audio tracks from several output channels down to a simple stereo track – d-sub input trs xlr balanced outputĪnalogue summing is proving a popular route for ‘warming up’ digital mixes – d-sub trs input audio studio It’s a dual mode summing mixer feature, like you have 2 type of mixers inside the box Just like in math, when you add things together you get the sum of those parts – mono convert summing mixer This process of funneling all your tracks together is called summing. What’s the purpose of a summing mixer – best neumann summing mixer And the recallability is just the icing on top 😉 If you’re considering, I wouldn’t hesitate, the gains are endless. Whether you believe in it, or not, analog summing (especially with such outstanding components) imparts the 3rd layer of dimension, I’ve always been looking for, but never quite got through digital…Īnywho, the Neumann V475 really imparted a whole new world of possibility into my studio and music universe, for much less

Upon arrival the built quality and personalized engraving made me smile, but not as much, as the sound!!!-> The truth is:

The updates about the progress were an awesome way to watch my baby being built :D. I stumbled upon Paul’s little shop and read the countless mindblown-customer reviews. Having a vague idea of which features were interesting, I contacted Paul, who responded incredibly professionally. His input and feedback was much welcome and supporting for the final decisions. keeps dynamics a bit more 'in-check' before piling on the inevitable brickwall limiting.After having spent many days considering and reconsidering the choice of analog summing device I want to invest my money in, The main squeeze helps things survive the often brutal mastering anyway. Usually I'm just riding things, pull back maybe 3dB on peaks, but more often then not just tickling the meter and letting the vocal (or kick & snare) push the master. Not my favorite piece or setting but the theory is the same. SSL master comp at 4:1 can really alter the transients and has been the 'sound of rock' for the last couple decades. Its not a level thing, I'm going for the tone of it. drums and vocals in place and then slap it on, usually before much if any individual channel compression is in place. Somewhere along the way I picked up the idea of putting it on early in the mix and more or less mixing with it instead of against it. get a mix together and pop it on towards the end and it always sucked, would blow everything apart and radically change the shape of the song I used to struggle with the 2-mix compressor. Since your a mastering guy how do you then deal with the mix balances changing when compression is applied? Or is not much of an issue? That buss is then routed to the stereo mix. That gets sent to a master buss, which typically has the Airwindows Classic Channel plug-in, along with a compression (again, set to add just a bit) and EQ plug.

In general, I try to keep all the levels in the signal chain around -6 db, just to avoid clipping the signal. The effect of this is very subtle, but it does seem to add a bit of 'airiness', and helps glue the mix together. From there, I send that buss out to an RNC-1773, set to a very light compression using the 'super nice' button engaged. In DP 7, I buss all the tracks to an aux buss (1 and 2). Still, I'm self-taught, and there's always room for improvement, right? With that in mind, I'll describe how I do it, and if you have any tips or constructive criticism, I'd love to hear them. I think, quite humbly, that I've gotten okay with the process, and that the results I get sound decent, at least. Just the other day, I finished something new, and mixed it down to a stereo master as I always do.