Multi Track or Stereo Track

chrisk301

Junior Member
I've been looking at recording for a while but now since I bought a new set I'm really interested in trying to get something set up. I was thinking an audix d6 for the kick, i-5 for the snare, and a pair of overheads..idk what yet though.

Anyway, is recording multi tracks through an interface and editing them that way better? Or is getting a mixer sufficient and recording into one stereo track just as good?

And any suggestions on overheads would be great as well. About 300 for a matched pair I'm thinking. Thanks a bunch!
 
Also I'd just be looking for a 4-input interface for now. I'll expand when I get the hang of a basic set up and I feel I need to expand.
 
I do all my recording multitrack and then mix down to two track stereo, analog. it only goes digital at the very end of the sequence. Going mulitrack, you're able to make final adjustments to your end mix that you can't when mixing directly to two channels.

Dennis
 
So multitracking would be better, which I kind of figured. I'm not looking for anything to fancy but what type of interface would you recommend?
 
Multitrack is the way to go. I'm using a Motu 2408 (8 in 8 out) and a 828 MKll (10 in 10 out) for my interface's and love them. I hear good things about Presonus too. I'm running Sonar 8.3 Producer also. Sonar is great!
 
I think you should spend $300 and get the Tascam US-1641 USB 2.0 interface. You can record up to 14 things simultaneously (providing your software can accommodate that). I only recommend this because it's cheap(er) and sooner or later you're gonna mic up everything as you learn more about what you're doing. You might as well prepare for that possibility.

I know when I had the Tascam, coupled with GarageBand in the Mac, I had no problem tracking eight mics at a time. And it was surprisingly easy to use.
 
Bo, that looks nice. How are the pre amps? I see the 1641 has been discontinued and replaced by http://tascam.com/product/us-1800/specifications/.

I've always liked Tascam great stuff.

Ah, then I stand corrected. The 1641 was a great box. Didn't have any problems with it whatsoever when running it with GarageBand. I can only imagine the 1800 or the 2000 should be even better.

Still not gonna make me abandon my Zoom R16, though ;)
 
Ok thanks for the suggestions for the audio interfaces. The only reason I wanted small was because I didn't think I could get a quality interface with that many ins for only about 300 bucks. But now that I know I'll probably do that!

And another question. I have no idea about recording so what is "phantom power"? And with what kind of mics is it required?
 
Ok thanks for the suggestions for the audio interfaces. The only reason I wanted small was because I didn't think I could get a quality interface with that many ins for only about 300 bucks. But now that I know I'll probably do that!

And another question. I have no idea about recording so what is "phantom power"? And with what kind of mics is it required?

Two types of mics out there: dynamic and condenser. Dynamic microphones do not need there own power to operate. Condenser mics do, and as a result it makes them more sensitive. If you look at a Sweetwater catalog, mostly all of the big vocal mics are condensers. What powers these mics at the console is 'phantom power' which could be anywhere from 9V to 48V. If you have a condenser mic, plug it in, then hit the phantom power switch and this will power the mic. You could also get a condenser mic that has a space for a 9v battery to operate as well, but there's not as many of those on the market. The Tascam provides phantom power for any condenser mics you may have. But if you end up buying a bunch of dynamic mics, then you don't have to worry about it. I would recommend always buying an interface or a mixer that has phantom power available to use. The one time you don't is when you'll end up getting to borrow someone's really neat condenser studio mic!
 
thanks for all the help! it is really starting to help me with making decisions and know what to look for in an interface
 
Now I'm starting to get off topic but..I can only set up in my basement. Its fairly big, about 25X15?, and I was wondering if I could get a good sound with the set up I have.

I have my set raised up about 3 inches on a wooden platform that has carpet on it. The walls are drywall, the floor in painted concrete. Its fairly empty aside for a computer desk, lifting bench, and a wall of shelves.

Does this sound like an okay set up for getting a pretty good drum sound? I know it won't be studio quality but if I could get a good enough sound out of it that is all I'm looking for.
 
You didn't mention your ceiling's height, but it sounds as if it's a very reverberant hard room.

Dennis
 
Ah, then I stand corrected. The 1641 was a great box. Didn't have any problems with it whatsoever when running it with GarageBand. I can only imagine the 1800 or the 2000 should be even better.

Still not gonna make me abandon my Zoom R16, though ;)

I use a Zoom R16 as well, I use it with Motu Digital Performer6 on my mac. I have never used garage band for recording my drums. The only thing I don't like about the R16 are the mic pre's. I am saving up for a 8x8 mic pre. M-audio or tascam. Motu is way out of my price range. The bummer is my Macbook does not have Firewire. Do you know of a cheaper way to run a mic pre with the R16 to get a fatter sound. I borrowed my friends fast track pro and used the four mic pres for kick,snare,and overheads and ran my toms from my Behringer mixer and panned them from left to right. I used a total of five tracks and my drums sounded amazing. Decent mic pres make a huge difference.
 
I use a Zoom R16 as well, I use it with Motu Digital Performer6 on my mac. I have never used garage band for recording my drums. The only thing I don't like about the R16 are the mic pre's. I am saving up for a 8x8 mic pre. M-audio or tascam. Motu is way out of my price range. The bummer is my Macbook does not have Firewire. Do you know of a cheaper way to run a mic pre with the R16 to get a fatter sound. I borrowed my friends fast track pro and used the four mic pres for kick,snare,and overheads and ran my toms from my Behringer mixer and panned them from left to right. I used a total of five tracks and my drums sounded amazing. Decent mic pres make a huge difference.

Ah yes, you've hit that wall too. Although I haven't had a big issue with what I do on the R16, I didn't like the fact that I couldn't have more than two condenser mic's at a time because only channels 5 & 6, and 13 & 14 have phantom power. So, what I did was pick up a nice used Mackie 1604 VLZ Pro mixing board, and because it has eight direct outs on the back of the console in addition to all that other I/O options it gives you, I thought that would be the cheapest and easiest way to do what I wanted to do. Plus the Mackie's mic-pres are top notch in their class, and it allows me to pre-eq the drums, and maybe even give them effects I already know I want on there. I bought it for $300 on eBay and it's working out great.

I figured this is way easier than getting a hold of a bunch of separate mic pres and if you have table space, I like the set-up. With that big blank space at the top of the Mackie console, I could velcro the Zoom to that area and everything is right at my fingertips.

It'd be really great if I could get one of those API Lunchbox things loaded with 8 of their mic pres, but at $2500 a piece (I think) that would be 20K!
 
It'd be really great if I could get one of those API Lunchbox things loaded with 8 of their mic pres, but at $2500 a piece (I think) that would be 20K!

About 1/3 of that price.

The venerable API 512 is $750ish (+/- 5% based on dealer, discount, etc).

1073 sized for 500 series is $1000 - haven't read reviews there. (That's pre-only, though, doesn't have the 1073 EQ - you're still looking at the undeniable truth that the 1073 is expensive).

Best thing to do is save, buy as many as you can do in one shot (6 channels is still a non-trivial $4500) and get the dealer to throw the chassis in for free.
 
About 1/3 of that price.

The venerable API 512 is $750ish (+/- 5% based on dealer, discount, etc).

1073 sized for 500 series is $1000 - haven't read reviews there. (That's pre-only, though, doesn't have the 1073 EQ - you're still looking at the undeniable truth that the 1073 is expensive).

Best thing to do is save, buy as many as you can do in one shot (6 channels is still a non-trivial $4500) and get the dealer to throw the chassis in for free.

Yeah, whatever it is, is probably way more than I got to spend ;) Something to dream about though. But $4500 is a nice down payment on a Yamaha M7 32-channel console, though.
 
Yeah, whatever it is, is probably way more than I got to spend ;) Something to dream about though. But $4500 is a nice down payment on a Yamaha M7 32-channel console, though.

Aw, come on, think bigger. $4500 is a disappointing take from a bank robbery. Now it's within reach! ;)
 
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