Having the Example of the how the internal mixer works in regards to 32 bit processing and clipping was entirely worth the price of admission. I've been running some of my own tests with various plug-ins parially because I can't really beleive it, but it's true and amazing. I cranked up the input and output of Ozone 4 for almost 40db of gain, popped a Gain plug-in after it and got a pure sine wave. I wish I had understood this years ago. I think because I came up through the final years of primarily analog studios I had just been in the habit of seeing clipping as clipping. You clip a channel or piece of gear in the analog domain, and you get distortion, sometimes good, sometims not, but there's nowhere to bring the gain back on the other side to remove it. So thanks for the mental can opener! bd

Thanks bd... it was really important for me to make that point because it is a bit non-intuitive. Thanks again for appreciating it!

I also just couldn't resist running some of the same tests in PT HD. The results were Intriguing to say the least and I think goes a long way into explaining why I like the sound of analog summing when I mix on that system. Whereas when I mix in Logic I don't really hear the need for the summing setup. I've always understood that PT HD is 48bit fixed and read and listened to arguments regarding the whole 32bit float versus 48bit fixed thing, but to be able to demonstrate in a quasi scientific method to myself what it comes down to functionally is pretty darn empowering. I've never given the fact that PT LE operates with different math than PT HD much thought. But I think it changes things dramatically for me. I've been mixing (and until about a year ago mastering) in TDM since TDM was created, and clipping has always been a bad thing, I now understand why AND can demonstrate it. As a caveat there are many other reasons why an HD system has its strengths... This is just all really interesting. bd