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Oh it's you again.
It's a more loaded question that you realize because there are so many types of elements and configurations. To use the ones you mention as a starting point...
6-track in the analogue era is usually on 35 mm film and as I recall I've encountered two types:
1) L/C/R A-stem & L/C/R B-stem, usually in the '50s & '60s on 35mm mag. The two stems have to be aligned (sometimes there are overlays on additional stems but not for all cues).
2) L-LC-C-RC-R & mono surround, for 6-track 70mm productions... but not always. This has sometimes been found on 35mm mag.
In the digital era 6-track generally means:
L, C, R, Ls, Rs, LFE, which is the modern 5.1 configuration and usually on a digital format
6-track is considered "mixed," meaning all the signals from the various microphones have already been positioned and balanced.
4-track
This is also "mixed" but usually from the pre-digital era when there was just a mono surround track. The elements are sometimes LCRS, or sometimes just LCR (with a sync pulse on the 4th track). It's usually on a 1/2" tape.
24-track (and 16-track)
In the analogue era this would be a 2" tape and is generally considered "unmixed," so the signals from the individual stage microphones are discrete. This is not to say that all 24 tracks have to be mixed because sometimes there is an LCR or L/R stereo taking up some of the tracks. And there is usually a sync pulse track and sometimes a track for clicks. It also depends on how a recording is done. When John Neal used 16-track he generally had 6-track main mix and then spot mics to enhance something when needed.
In the digital era these "multi-tracks" got wider, first to 32-track and then 64-track, and going that wide you can sometimes find a 5.1, an LCR, a L/R stereo etc. all laid onto it. Sometimes even the dialogue is on there as well.
A lot to digest, I know, but think of it this way... 6-track and lower generally means that it's already mixed, 16-track or higher usually means it's unmixed. The confusing part is that the number of tracks a tape is capable of holding is a separate issue from what is actually on them. For example, we had 2" 24-track rolls for Hanover Street and that was the source element, but three of those 24 tracks contained the L/C/R 3-track mix that was used for the Varese album.
And then there are always the kooky surprises and that's the problem with standards: there are so many of them.
Mike
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