in the studio, one can rewire live's track to a decent mix engine; e.g. cubase/nuendo. in this configuration, the rewire slave app's audio engine is not active, so each track can be bussed to the host's audio engine. in my experience, this produces excellent results that are audibly different and imo more accurate, even with the host only taking over straight summing vs. stand-alone operation. fader moves usually need to be re-written for the host, but if your faders are not automated, then transferring the settings to the host also can yield an audible benefit (in my experience, confirmed by others). specifically with ableton live and especially with propellerhead reason. (older versions of live could not render at 32 float, the ostensible bit depth of live's dsp engine.. reason still can only render at 24 bit fixed, but also claims the signal is 32 float, rewire is the only way to tap it properly.)
hmmmm.... "reason" in audio;
but then we'd be talking about "consoles" and "tape" perhaps...this thread is called "class a goodness"... well you are totally right ronny...this is not the best forum for learning how to cover up wordlength truncation distortion with class a analog anything. i think it's the wrong question when there shouldn't be audible wordlength truncation distortion to begin with. (and what else could this problem be?) presumably it is the music that has innate goodness that needs to be preserved and emphasized, i think we might agree that it's not the best strategy to try to solve distortion by masking it with more distortion if it could instead be cleaned up closer to the source.
jeff dinces