When tracking from keyboard or drum machine: do you record in stereo or mono?

[Big 3rd]

As you know, most of the keyboards, sound modules, drum machines and etc have many great sounds that are preprocessed in stereo and can not be made completely dry. As a matter of fact, most of the sounds that are in these 24 bit units nowadays are processed with some kind of effect. So I want to know what sort of sounds do YOU track in stereo and what in mono? Several engineers suggested that I track EVERYTHING in stereo, at least all those that come from some sort of module or keyboard. Of course, this doesn't include live performances, but do you agree and if not, what is your technique?

[edIT]

i own a fantom xr rack and i always track stereo. i don't think it really matters "most of the time". a lot of it boils down to if you just simply want to take advantage of recording multiple things into your DAW at once and also what DAW you own. for instance, i own Cubase SX. at the moment i only have one dual mono pre (Pendulum MDP-1A). i can only track 2 tracks at a time so i always track stereo. i also have a beast of a G5 so track count is no problem. and i don't mind going back and tracking the fantom 16 different times. i would track in mono if i wanted mono pairs of a source like synths or strings that i wanted to offset or effect individually for stereo effects etc..... the only reason i would do this is because unlike pro tools you cannot take a stereo track and split it over 2 mono tracks, if you put a stero track on a mono track it becomes mono in cubase. so it's more of a reason of DAW functionality for why i would track mono. most other people would argue that drum sounds and subs and bass should always be mono. especially hip-hop heads. and it is true that those sorts of things should be more "centered" in the stereo spectrum, but having a stereo audio track of kicks that is dead center in my opinion is no different than a mono track of kicks dead center. so it really all boils down to your DAW and it's way of handling stereo and mono files. IMO if you have a strong computer why not just record everything in stereo?

[dussel]

edIT:

of course you can split stereo tracks in SX. Just activate two mono tracks and set the according part of the stereo signal as input.

dussel

[Big 3rd]

Originally Posted by edIT

i own a fantom xr rack and i always track stereo. i don't think it really matters "most of the time". a lot of it boils down to if you just simply want to take advantage of recording multiple things into your DAW at once and also what DAW you own. for instance, i own Cubase SX. at the moment i only have one dual mono pre (Pendulum MDP-1A). i can only track 2 tracks at a time so i always track stereo. i also have a beast of a G5 so track count is no problem. and i don't mind going back and tracking the fantom 16 different times. i would track in mono if i wanted mono pairs of a source like synths or strings that i wanted to offset or effect individually for stereo effects etc..... the only reason i would do this is because unlike pro tools you cannot take a stereo track and split it over 2 mono tracks, if you put a stero track on a mono track it becomes mono in cubase. so it's more of a reason of DAW functionality for why i would track mono. most other people would argue that drum sounds and subs and bass should always be mono. especially hip-hop heads. and it is true that those sorts of things should be more "centered" in the stereo spectrum, but having a stereo audio track of kicks that is dead center in my opinion is no different than a mono track of kicks dead center. so it really all boils down to your DAW and it's way of handling stereo and mono files. IMO if you have a strong computer why not just record everything in stereo?

Very good feedback, thanks man, that makes a lot of sense.

[DirkB]

Originally Posted by Big 3rd

As you know, most of the keyboards, sound modules, drum machines and etc have many great sounds that are preprocessed in stereo and can not be made completely dry. As a matter of fact, most of the sounds that are in these 24 bit units nowadays are processed with some kind of effect. So I want to know what sort of sounds do YOU track in stereo and what in mono? Several engineers suggested that I track EVERYTHING in stereo, at least all those that come from some sort of module or keyboard. Of course, this doesn't include live performances, but do you agree and if not, what is your technique?

Depends on what you're recording. I use a Korg Triton studio for the occasional string, hammond and synth overdubs and I'd like to not have too much stereo things recorded. It there are just some stereo FX used to make a mono source stereo, I generally (unless it's a great patch that works as-is) turn these FX off and decide in the mix how much width the track gets.
However, string patches I normally record in stereo, but very rarely do I pan them hard left and right.

Greetings,
Dik

[toolskid]

one of my least favourite operations when recieving a mix is to wade through reams and reams of barely (or not at all) stereo tracks making them all mono!!! Obvious exceptions are things like an important but subtle ambience or some useful but subtle width or panning modulation OR if the thing sounds just GREAT the way it is

[Dickens]

I use a Motif and an MPC-2000 drum machine.
2000:
When doing a demo I'll record my enire drum mix in stereo slaved via MIDI to my 002. This allows me the option of going back and either adjusting the sounds or recutting individual drum outputs. When I want more control in the mix I will record individual drum sounds to Pro Tools.
Motif:
If the FX are critical to the patch I will record in stereo with the FX on. If it's a natural instrument that might benefit from plug in fx I'll record it dry. The instrument determines stereo or mono recording. i.e. I may record a piano patch dry but probably in stereo...an oboe perhaps dry but in mono. The ethereal patches are always cut in stereo with Fx on.

[Lagerfeldt]

If I can't hear any obvious stereo on a sound, I use the mono button on my monitor control to decide whether there's any weird top freq loss from taking it in mono, if not I go mono.

[C.Lambrechts]

mono as much as possible.

[thethrillfactor]

Both.

[Charlie-O]

More often than not all drum sounds coming off my mpc4000 are mono, unless its a stereo percussion sound of sorts.


On my keyboards (triton, motief) I more often than not track everything mono, unlessits a string sound, or ambient sound, that i feel enhances the track in stereo, but I am choosy becuase SPACE FILLS UP FAST, like your giving out free money.

PS I never track using the keybords reverb or delay on, I dont wanna commit to a cheap reverb unless mixing.

[rjx]

I make electronic music and everything I track is in mono.

[moeses]

you guys who record from keyboards in mono

do you go headphone out?

[Exmun]

Originally Posted by moeses

you guys who record from keyboards in mono

do you go headphone out?

You don't need to do headphones out. Just record a single output. Most keyboards/modules specify the left output as the mono output. So use that one. The headphone out is a different impedance and will likely screw up stuff. Use the line out.

[Lagerfeldt]

If I sample or record from vinyl I always record in stereo no matter the sound.

[Ari-M.]

For me it really depends on the sound I am going for. If something sounds great coming out of my module/keyboard I will generally try to capture what I am hearing at that moment. I have found that even sperating/splitting tracks for multiple passes alters the sound (could be related to distortion/headroom on the units buss outputs). It also seems that you will sometimes lose the overall vibe of the track when getting to technical and tracking out each individual instrument. Sometimes when you have something good you just go for it. Just my opinion. Sometimes I do take the other approach. I suppose part of what makes this job so much fun is that the is no "formula" and there are no rules.

Ari M.http://gearslutz.com/board/newreply....te=1&p=312364#

[skip bitmin]

I record everything in mono because stereo clutters up the mix to me.
If I do record in stereo I rarely pan hard left and right also. If you can
control the amount of effects on individual drums they sound better to my ears
(excluding loop cd's).

[C.Lambrechts]

Originally Posted by Exmun

Just record a single output. Most keyboards/modules specify the left output as the mono output. So use that one. The headphone out is a different impedance and will likely screw up stuff. Use the line out.

hmmmm .... it all depends. I tend to bring the synths up on a stereo Aux in PT. hard or software. A lot of things I send to a mono bus and record off that mono bus instead of just choosing the L or R out. That way the signal gets summed and aftoen that's the way I want it.

[Ted Nightshade]

I have concluded that most of the stereo keys sounds are kind of contrived. The stereo spread is nothing like what you would get mic'ing up a real instrument. So I tend towards mono. If I want stereo I'll mic an amp in the room or a Leslie.

If the sound suffers in mono, there's something wrong with the design. That's fairly common unfortunately. One of things I love about the Kawai MP9000 is that ALL the sounds sound GREAT in mono. All the effects, everything is totally mono-compatible. thumbsup

[Big 3rd]

I was running my sounds through PT Le. Now it's HD2. But before, with 32 tracks, recording everything in stereo can have you running out of tracks very very quickly, especially if you are doing a lot of adlib vocals. I tend to use a lot of sounds in my production, so PT Le was not for me, especially when you don't like bouncing down tracks, like me.

Like I said before, I am in the midst of upgrading my studio and moving from a apartment to a house. At this moment, I am not setup to do any music and haven't done so since damn near August. So I am suffering right now.
But my engineering experience is only about a good solid year old, but I've been producing for a little over 6 years now.

Thus far, in my short engineering career, I would premix my production within my motif and mpc2000( effects, reverbs, delays and all). Everything sounds great at this point. Then, I would track all sounds dry and mono, synths and all. Once everything is all recorded, I would attempt to recreate the same mix within PT with the plugins I had. At that point, things like the strings, synths, piano, you know, the sounds that are made in stereo, tend to sound weak, have less impact, and not sound natural. However, I think I was recording it wrong. I would run both left and right channels to a single mono bus, summing the two. This was wrong, wasn't it? I tryed to take a single channel of a stereo sound and track it, but it sounded too low to boost to an exceptable level. You can boost a low signal only so much before the noise floor gets too loud.

For me, I think tracking in stereo is more essential than most. I think most people complete there breakdowns, mutes, moving pans, and etc after the tracking period and after the vocals are recorded, working around existing vocals. I like to do EVERYTHING before tracking. I like to have every mute, every fade, every sweeping pan, EVERYTHING, premapped before I press record, so I have little decision making at the creative mixing stage. At that stage I just mix to make things fit and have it's own pocket because I figure I have invested the time already in the song's intricacies. Do you think this approach keeps me limited?

[Exmun]

Originally Posted by Big 3rd

....I like to have every mute, every fade, every sweeping pan, EVERYTHING, premapped before I press record, so I have little decision making at the creative mixing stage. At that stage I just mix to make things fit and have it's own pocket because I figure I have invested the time already in the song's intricacies. Do you think this approach keeps me limited?

If that's how you work then it seems that stereo is how you need to track your keys. I assume by your last comment that you're doing those sweeping pans inside your module/sequencer? If so, I suppose you should track mostly stereo keys. But, honestly for most bass and Kick patches, I don't see the point. The other stuff is debatable, as it probably depends on how you work.

[espasonico]

I record in stereo if the sound is stereo. Just listen

[Stoneface]

^^^^ I agree. It all depends on the sound. When I track, ALL my drums go mono. Kick, snare, hats, shakers, whatever. That way you can acurately place them in a space of thier own. As for synths, it again depends on the sound. Strings, pads, ect. I'll almost always do in stereo. Bass GTR's, I will usually do in mono as my bass GTR's get mixed with my drums and I don't always position the bass right down the middle. Really, there are no rules of right or wrong....just as long as it sounds good.

[Big 3rd]

Originally Posted by Exmun

If that's how you work then it seems that stereo is how you need to track your keys. I assume by your last comment that you're doing those sweeping pans inside your module/sequencer?

Yeah, I do all that stuff within my motif and mpc. I like to have complete compositions done when it's time for tracking.

[paterno]

Originally Posted by edIT

i own a fantom xr rack and i always track stereo. i don't think it really matters "most of the time".

and it is true that those sorts of things should be more "centered" in the stereo spectrum, but having a stereo audio track of kicks that is dead center in my opinion is no different than a mono track of kicks dead center. so it really all boils down to your DAW and it's way of handling stereo and mono files. IMO if you have a strong computer why not just record everything in stereo?

AAAAAAAGGGGGGGHHHHHHHHHHH. STOP THE MADNESS !!!!!!!!!!!!!!!!!!!!

Sorry, just had to let that out.

If it is truly a stereo sound, then record it that way, but:

PLEASE, LISTEN TO THE SOUND BEFORE YOUR RECORD IT. IF IT IS MONO [you know, coming out of the center] WITH A LITTLE FRILLY REVERB/ FX AROUND IT, RECORD IT MONO. PLEASE. IF YOU CAN TAKE OFF THE FRILLY REVERB AND IT STILL COMES OUT OF THE MIDDLE, RECORD IT MONO. PRETTY PLEASE. IF YOU THINK SOMEONE DOWN THE LINE MIGHT BE MIXING IT AND MAY WANT TO PAN IT SO IT CAN ACTUALLY BE HEARD AMONGST ALL YOUR OTHER 'STEREO' TRACKS, MAKE IT MONO. EXTRA PRETTY PLEASE...

I don't know how many other ways to say it. There is no greater pain in the ass while mixing than having to move two freakin' pan faders to place a sound somewhere in the stereo spectrum, that would be accomplished in two seconds with ONE pan control. Because then the choices are to kill one side or to combine the two tracks down to one anyway - which is another distraction from actual mixing

and while we are at it -- NO STEREO SINGLE VOICED LEAD VOCALS !!!!!!!!!! One voice, one track !!!!!!!!!!

My two cents. thanks, I feel better...

John