Ultimately, that question doesn't matter. You should be able to cut from either format and the wisdom of cutting digital to analog has nothing to do with anything.
I'm a big fan of cutting from all analog mixes. When I was working as a recording engineer I made many recordings that were fully analog, so I would insist on a ME that could cut all analog, and wouldn't work with a ME that was going to digitize the mixes to process and cut. Not that I was a purist, but I was fastest working with tape and I didn't want the ME to put the mixes through any extra A/D-D/A processing so I would just hire a guy that wouldn't.
This is kind of beside the point, but I would push back on this some...
concretecowboy71 wrote:Personally I do not know many artists with the monetary resources to do an all analog project.
Total myth that analog projects are more expensive than digital projects. I've recorded and mastered many, many analog projects that were done on shoestring budgets. Analog is only more expensive than digital if the recording engineer is inexperienced in analog. Not going to say much more on that as I'm digressing into Albini territory.
As a mastering engineer, I've cut all analog masters that were done by engineers that I consider to be among the best I've ever seen, and I consider those to be some of my best work, I've also assisted on all analog cuts where the masters were a total mess due to engineers that were inexperienced in the process of analog (I once had to change the playback speed of an assembled analog master as the ME was cutting because the client didn't understand that different tape machines could record at different speeds).
So, what I'm saying is, all analog masters are great, but like any master, you can get into garbage in/garbage out territory and that gets more probable as people venture into formats that they don't know how to work with but at the end of the day the wisdom of the process of changing formats is in service of the art, sometimes the medium of the pre-lacquer material is the message and sometimes it isn't. So basically this...
A crappy tape job with sound like crap on a record. The medium does not dictate the quality of the final product, the program material does.
Greg Reierson wrote:I'll do whatever they hire me to do. What they think sounds cool could be great, could be terrible, could be over my head and I don't realize how cool it really is - or the exact opposite. Who's to say. There have been a few head scratchers but that goes for a good chunk of the musical content we all work with anyway. Not really our call either way.