Running two LE systems together

[A.David.MacKinnon]

You can't make a competitive record with that few mics on a drumkit.

Quotes like that make me want to flame you the same way everyone else has.
Instead I say go for it. If the band doesn't have to monitor what's happening on the other LE rig then you should be fine. Import everything into one session and line it up.
Didn't Deerhoof make a record this way? I think they used a few different computers running Pro Tools Free.
In my tape days I used to record guitar solos to a seperate 2 track reel to reel when I ran out of tracks on the multi track master. I'd fly the part in during mix down while crossing my fingers and holding my breath. It worked. This should work too.

[Gentleman Jim]

@?,*???&? wrote:

Can you possibly tell me that NO manufacturer has made a two-channel device with wordclock I/O and s/pdif I/O for under $2K?

Am I missing something here?
http://www.bswusa.com/proditem.asp?item=2408MK3CORE

More than 2 channels, WC, SPDIF, TDIF, ADAT. $995.

And hey, I realize it won't make you happy, (because it seems nothing ever does), but what you need for this project is this:

http://www.bswusa.com/proditem.asp?item=24IOCORE
Track to AudioDesk for Mac, export to ProTools, quit complaining.

I notice you have a nice, inconvenient 25 track input list for this project. I like that you spent the extra time to make sure that a 24 input unit wouldn't do. Perhaps you could get rid of ONE of your SEVEN (!) drum overhead/room/FSU mics. Just a thought. Only one less mic and you would be in the clear. Or you could jerry-rig some ghetto system to make sure that ALL the instruments have scratch tracks. (Wouldn't want to have to suggest to the band dropping that all-important and redundant SansAmp scratch track!)

You know what? Unless you're willing to invest $1500 to make this happen I'm going to consider you neither LEGITIMATE nor COMPETITIVE.



I can't help myself, I really can't...




MAYBE YOU CAN PAY FOR THE NEW A/D WITH ALL OF YOUR STOMPBOX RENTAL MONEY!

[Gentleman Jim]

You know what? After that post, I feel Punchy and Warm.

Some day I hope to feel Legitimate and Competitive.

This is a competition, right?

[rwc]

You can't make a competitive record with that few mics on a drumkit.

Doesn't mixerman use six?

It seems Jeramiah was uncomfortable with my recording drums to just six tracks.

?That?s two tracks too many,? I replied, hoping he would drop it at that.

Then he began to tell me about how the world-famous mixer Sir Arthur Conan Mixallot has become upset with him upon receiving so few drum tracks.

?Do the drums sound good to you?? I asked innocently.

?Well, yeah, I just think there should be more tracks,? he replied, ignoring the logic that I had set forth to him. I tried to just ignore his objections, but Jeramiah was a Mook?s Mook, and he wasn?t going to drop the subject. I tried to educate him, but he felt that Sir Arthur?s opinion outranked mine. The expression of that sentiment did nothing toward his cause.

?Are you saying that Sir Arthur doesn?t know what he?s talking about? He IS a highly respected engineer!? he replied, and so I abandoned that tack.

To discuss this subject further would only prove to be a complete waste of time. Jeramiah was being filmed, and he was not to be denied. Willy had warned me not to change anything. Even without such warning, I wouldn?t likely change the way I had everything set up just to appease some A&R Mook?s concerns that a mixer might be upset at having his hands tied later. After all, tying hands was my intention. Seeing as Jeramiah was pressing me so hard to change the drums, I had no choice but to give Jeramiah an audio placebo.

Jeramiah wanted 12 drum tracks, and I was printing 6 drum tracks. I didn?t require an abacus to figure out that if I bussed45 the identical set of drum mics to the next 6 tracks in line, I?d then have a full 12 tracks of drums. This exercise does nothing to change the sound of the drums. Two identical recorded signals summed together reproduce, for the most part, identically, save a 3-decibel jump in level. In other words, recording the identical 6 tracks of drums twice was nothing short of superfluous. All I was actually doing was making the drums louder. As far as Jeramiah was concerned, when I opened the other six tracks, the drums sounded much stronger, which they did because they were louder.

One of many professionals who would regard that statement as bunk. :/

I've heard stuff that went on to "legitimate release" with sm58 kick, two mxl overheads, and an at4033 under the snare pointed at the kick. Sounded great.

Is there a reason you're going through hell with protools LE when you could use any other software and an interface that allowed many more inputs? and dump the behringer already. :/ Dump the digi002, get three digimax fs units from presonus and an RME digiface. 24 quality ins and outs and no headaches from digidesign. There are many other ways to do it proper.

[@?,*???&?]

Guys, I'm not buying a new studio set-up here. My list is very long to do that. It would start with a large format console like a Trident, Neve, API or SSL. The list grows from there. Taking on those kinds of payments, yes, the rate would go up- alot and it would have to.

I'm merely looking for expansion capability with the system I have.

And I do recall someone on this board at some point did a project with two LE systems. Was it deerhoof?

[MoreSpaceEcho]

it was deerhoof, and it was 3 systems running protools free. they would all hit the spacebars at the "same" time. hardly any way to make a Professional Recording i'm sure you'll agree.

[;ivlunsdystf]

it was deerhoof, and it was 3 systems running protools free. they would all hit the spacebars at the "same" time. hardly any way to make a Professional Recording i'm sure you'll agree.

Agreed, but even if the result is not wholly "Professional" we must all note that it is at the very least "Competitive".

[stinkpot]

it was deerhoof, and it was 3 systems running protools free. they would all hit the spacebars at the "same" time. hardly any way to make a Professional Recording i'm sure you'll agree.

Agreed, but even if the result is not wholly "Professional" we must all note that it is at the very least "Competitive".

And just plain badass IMHO.

[KamikazeKyle]

Doesn't mixerman use six?

6 Tracks on the Tape machine doesn't nesicarily mean 6 mics, he was probally bussing things together.

[MoreSpaceEcho]

i think 'achtung baby' was like 3 mics (2 of them 58s) on the drums.

that record did ok.

[@?,*???&?]

i think 'achtung baby' was like 3 mics

Quite a statement. I'd trust this one for sure.

Maybe do some research and get back to us on it!

Because you are confusing Bono's live vocals in the control room with a 58 using NS10s as monitors with no headphones...

[wedge]

In my twisted mind, "competitive" means writing good songs, and recording good performances... And good drum sounds have more to do with good playing and good engineering, than with the number of mics... For fuck's sake, some of the best drum sounds in the history of rock have been recorded with one, two, three, four mics, depending on the era. But if the players sucked and the songs were drivel, then we wouldn't care about the drum sounds... What about good songs, for fuck's sake?!? Doesn't anybody care about quality songwriting anymore?!?

[@?,*???&?]

But if the players sucked and the songs were drivel, then we wouldn't care about the drum sounds... What about good songs, for fuck's sake?!? Doesn't anybody care about quality songwriting anymore?!?

I totally agree. The band have to bring the best material, but at the same time, I have to bring resources to bear to allow for options. Certainly a kick inner mic, an outer mic and a subkick can be blended to produce a better character tone that just a single mic. I'd like to do my best work on this and avoid limitations if possible.

I agree though, a poorly hit snare or inconsistently hit snare can throw whatever I'm trying to do out the window.

Like I said before, this particular band is not new to recording. They've recorded alot and know what goes into making a decent recording. We've already done some documentation recording with very few mics so I can hear the arrangements of the songs and have a starting point. 5 mics on the kit ain't gonna cut it for the record.

[MoreSpaceEcho]

Maybe do some research and get back to us on it!

here ya go buddy!

a grueling 30 seconds of googling gives us this:

http://www.soundonsound.com/sos/1994_ar ... adams.html

Robbie Adams recorded Larry Mullen's kit with only three or four mics, hardly bothering with details like stereo spread and control: "The most basic setup is a mike for the bass drum, one for the snare and one overhead. The kick mic may be a Neumann U47, placed maybe a foot and a half away. I use a Shure SM57 on the snare, and an SM58 for overheads."

he goes on to say that he would sometimes use a couple more, but at the most it woulda been 6.

also, all the jon brion stuff with matt chamberlain playing drums sounds like it's only a couple (very expensive) mics on the kit.

[drumsound]

Maybe do some research and get back to us on it!

here ya go buddy!

a grueling 30 seconds of googling gives us this:

http://www.soundonsound.com/sos/1994_ar ... adams.html

Robbie Adams recorded Larry Mullen's kit with only three or four mics, hardly bothering with details like stereo spread and control: "The most basic setup is a mike for the bass drum, one for the snare and one overhead. The kick mic may be a Neumann U47, placed maybe a foot and a half away. I use a Shure SM57 on the snare, and an SM58 for overheads."

he goes on to say that he would sometimes use a couple more, but at the most it woulda been 6.

also, all the jon brion stuff with matt chamberlain playing drums sounds like it's only a couple (very expensive) mics on the kit.

Oh SNAP