Hi enigma,enigma2win wrote:interesting, never thought about it that way.
was just confused because i remember reading a post of alexB saying that he puts the R2R before the console...
Always great help from Richie, Cupwise ...
The issue you mention of R2R before the console related to the aspect of having, say, virtual instrument tracks that were rendered inside the DAW, or recorded straight in.
If you wanted to simulate an analogue recording setup, those tracks could then be treated as if recorded onto [say] a 24 track 2" deck. Thereby you would insert a R2R instance at or near the head of your effects chain, effective giving you playback from tape.
As mentioned, there was no single way we would track, bounce, Overdub, or mix in an analogue based studio.
Back in the day ... we got to the point of minimum signal path when practical [and sometimes NOT].
For example ... instead of using a consoles preamp, we would feed the mic signal into an outboard preamp, possibly followed by a compressor [or many times not], and [via the patchbay] would patch directly to the multitrack tape input .. thereby bypassing all of the console electronics.
Playback from tape then returned [via line inputs] back to the console to allow monitoring, eq, mixing.
We also had a 22 trk limit [or if synchro slaved] have 44 tracks to record to.
Many times during the basic tracking, things like drums were spread out across 10 or 12 tracks [when possible]. Once recorded to tape, and prior to addition overdubs, we would combine elements like toms down to a stereo sub ... to be printed back to tape [sometimes with additional eq, compression, etc]. This would open up new tracks available for the addition production. The point ... some sources hit the tape more than once.
Lead vocals were usually handle in composite form, whereby we'd have 4 or 5 takes, select the best of, sub them down, and bounce that to tape as a single composite [which could then be punched into].
My mention of minimum signal path becomes obvious when you take into consideration the amount of sonic manipulation that could take place ... had the balance the good with the bad. And since I despised most tape noise reduction protocols, proper attention to signal levels through the process was mandatory ... ahhh, no different today.
hope this helped.