Managing track counts during live recording

[Heartfelt]

I hope to get some feedback on the front end of what you more experienced recorders would do in my shoes.

I am trying to decide, in reference to a permanent install for live recording, if you would intentionally opt for a lower "live" track count in favor of more dubs. The question is "track 30-32 live via Echo AF-12's" or "track 24 with an Alesis unit" and do more dubs.

Here is what an initial count looks like:
1-Kick
2-Snare
3-Snare
4-Tom1
5-Tom2
6-OH
7-OH
8-Bass
9-Acous
10-Guitar
11-Key
12-Key
13- Lead Vox
14-Lead Vox 2
15-Lead Vox 3
16-Flute
17-Violin
18-Vox
19-Vox
20-Vox
21-Vox
22-Vox
23-Vox
24-Choir
25-Chior
26-Choir
27-Live
28-Live
29-Live
30-Live

Would you whittle this down to 24 and what would you opt for capturing live and opt for dubbing later?

Thanks for any shared experiences or advice.

[Remoteness]

I tend to track as many live instruments and vocals as possible.
I rather have everyone performing at the same time to maximize the live feel, especially for live gospel music.

Over dubs are okay, but (IMO) should be kept to a minimum.

I assume the "Vox" vocal tracks you listed between 18 - 23 are Praise and Worship (or Group) vocals. Right?

How large is your Choir? I only see three mics lists and it should be at least two per section -- Soprano, Tenor, Alto.

What are the live tracks? Are the audience mics?

[Heartfelt]

Thank you for sharing your thoughts. Very helpful. This really affects the entire focus and practice of recording.

18-23 are front line vocalists, yes.

On the choir, there are 3-4 mics existing and they are quite bad mics. They are the C1000's. There are about 20 singers in the choir. I may need to use the live track (just one) as a scratch and put them back on stage, later.

Yes, the live mics are audience mics. These are not installed or purchased yet. From my past, I think they need to be shotgun mics.

Thank you very much for your help.
Robert

[locosoundman]

I agree with Steve - I am all for capturing as much as possible live. One other question I might ask is: what's the purpose of this recording? Unless this is a commercial release, there are a few things you can probably get away with - especially if you are on a budget.

As far as eliminating tracks, I would start with the bottom snare mic and two of the audience mic's. The two remaining crowd mic's could be cardioids facing away from the PA (or placed behind it at stage edge) if that's what you are afraid of.

I am surprised to see only two keyboard channels - are you getting a submix or is there only one keyboard? If it's only one keyboard, you could take it in mono and get rid of one of the keyboard channels.

I have gotten good results with three mic's on choir. You could (dare I say it) mix the three choir mic's down to two tracks on the fly. That brings us down to 25 tracks.

Is there only one guitarist? If so, record both signals to the same track; else, you could run both guitars into the same DI and re-amp the electric stuff later. That brings us to 24 tracks.

Else, get rid of the tom mic's and make sure you get the overheads right.

Otherwise, get a 48-track machine

[Heartfelt]

I appreciate the agreement on trying to catch as much mojo as possible.

It will be commercial but independent. Thanks guys. That solidifies my original approach and not shrinking back.

Rob