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Interesting!

What is wrong with option 3.?

Many engineers and particularly ones obsessed with SQ use analog summing boxes when mixing digital multi tracks to digital stereo as many perceived (rightly or wrongly) audible issues with digital summing. So much so that there is a thriving market for analog summing boxes (essentially mixers without eq functions but many studios nowadays use their legacy analog consoles just for summing).
I'd guess that of all hi rez recording procedures 3. is the most common by far.
Personally I have not got a problem with that. On the other hand if a sound file ever was 44/16 at any time during the production process it cannot ever be called hi-rez without being fraudulent IMO.


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