Mobile rig with quick bounce

[matt_freakincage]

Hi im going to start gig recording and i was thinking of getting the m-audio 2626 because it has 8 pres plus ADAT for lots of I/O

However i need a system with quick bounce as im mostly going to be recording bands one after the other and wont have much time for bouncing, is there anyway to do this with PT M-powered? or will i need a different interface?

I have access to both mac and pc

cheers

[mathieujm]

Go to Samplitude on PC. Editing, mixing, mastering, bouncing within a few minutes and/or cd burning all in the same tool with top workflow.

I thinck PT LE can onlu bounce in real time

JMM

[matt_freakincage]

ok ill check it out thanks

[matt_freakincage]

I was thinking of digital performer but if im running it through an m-audio 2626 instead of motu im unsure if it will still have quick bounce or if it will just be realtime, because a friend runs digital performer through a PTHD interface and cos of that he can bounce realtime

[tnjazz]

What, you need to bounce tracks on the spot? Why??

I'd make a safety 2 channel from the FOH console and give the band that if they want a rough after the show. Then take the tracks home and mix them properly for the finished product.

[matthewd]

This is a ridiculous short coming of Pro Tools which I never understood. But i am sure you can do some routing with the interface you are proposing to generate a stereo mix on the fly that would be good enough for those wanting instant gratification and leave you with stems to be mixed properly afterwards.

matt

[matt_freakincage]

because im going to be recording mulitple bands at any one gig and i want to give them the cds at the end of the night so i dont have to worry about sending themout or anything

was thinking:
m-audio 2626
presonus 8ch pre connected via ADAT
art s8 splitters
and a bunch of plug ins

[NorseHorse]

You'll learn WAY more actually taking the time to listen and mix your project after the fact. It'll allow you to clearly hear the consequences of your mic placement, explore the interaction between the microphones, and of course get tons of practice mixing. In the end, your final product will hopefully be significantly better.

[therecordinghous]

i typically mix a 2 track in protools live while also recording each of the individual tracks.


if i have 24 inputs, i set up 24 mono, and 1 stereo track (for the realtime mix).

i set the output of all 24 mono tracks to buss 1-2.

i then set the input of the stereo track to buss 1-2.

record arm all and away we go.

after the show, i select the stereo mixdown region and "export" the file to burn a disc, or better yet, put it on a usb drive for the band. they can walk away with a rough mix.

[Murton]

One small problem, you can't do a live two track mix like that as any changes will only be placed into effect when you actually do it. Bouncing the result of the mix can do it effectively and it's not that long of a bounce to do whilst packing up, set and forget. Anyway, doing a decent cut up of the multitrack after the gig is much better.

Presenting a clean multitrack a day after the gig compared to a rough mix done during the show will always be more professional in terms of results and return customers.

I like the rig, are you going to purchase any other microphones? Like maybe two decent pairs of condensers? For overheads and room mics and maybe a few 57's etc just to add channel capacity if the venue isn't micing everything up.

I am getting the same ART S8 splitters, let me know your thoughts on them! The 2626 is a great unit when it's clock is sorted out via external clocking, preamps are very decent for the price.

[matt_freakincage]

Originally Posted by Murton

I like the rig, are you going to purchase any other microphones? Like maybe two decent pairs of condensers? For overheads and room mics and maybe a few 57's etc just to add channel capacity if the venue isn't micing everything up.

I am getting the same ART S8 splitters, let me know your thoughts on them! The 2626 is a great unit when it's clock is sorted out via external clocking, preamps are very decent for the price.

I was going to get maybe two rode nt-1000's for OH and maybe an audience mic or two and 2 57s incade the guitars are DI

So i should get and external master clock for the interface?
what type, will an ART syncgen be any good?

cheers matt

[Murton]

I'm getting a Big Ben, for $1800 you can get them for brand new on first offer. Anything under it is not worth it imo.

Let me know what price you get your ART S8's for.

Also, what price are you getting the NT1000 for? I'm looking at a pair of K2's for around 1400. I'd go with Beta 57A's over normal 57's on guitars, or a e906 if you can find somwhere which stocks them. 57's tend to have a long history of breaking with me, heard so many dead one's it's not funny.

[matt_freakincage]

ok well ill look at the big ben

im getting the s8's for about 1000AUD for the pair

and the nt1000's im getting 2 for 1100AUD

[Murton]

You're paying way too much for the art s8's retail is 520 per 8, so you can easily get them for 350 per 8.

Also too much for the NT1000's. Hit up soundcorp, sound devices and turramurra music and see what their best prices are. Never pay retail for pro audio gear.

[Enginearing]

if you really don't want to mix later on, why even bother with multitrack?

get yourself a rackmount CD-R recorder/burner and mix directly to it.
I'd suggest sending a dedicated mix to it rather than a FOH matrix - In smaller venues things like guitars and OH are often lower in level in a FOH mix - (compensating for directly hearing these off stage)

personally I prefer capturing multiple tracks and mixing later.

2c kerchink

[matt_freakincage]

im going to mix with plug ins during the set

[hbphotoav]

Originally Posted by matt_freakincage

im going to mix with plug ins during the set

I do some of the same recording at live gigs and have found a couple of things...

1) Unless you're in a totally separated room (not likely in a club situation) I don't believe there is a set of cans in existence that will give you anywhere near an accurate enough mix reference beyond "rough" thanks to room bleed. I don't know that you'd be able to hear the effects most plug-ins will give you.

2) I've gone the (cue the laugh track) Mackie Onyx 1640 route, with the onboard ADDA card. I use a DAV BG8 mic amp for eight channels, and have found that the Onyx mic amps are, while not "wonderful", at least usable, especially in these situations. The console connects through a MacBook Pro running Logic to a small 320GB drive to track 16+2 (each input channel plus a rough L/R from the main output bus). Input channels track pre-fade, pre-EQ; the L/R is post. The main output from TRS is sent to a Tascam CD burner where I try to keep up with track punches; the "Rec Out" from RCAs is sent to a Edirol R-09HR for a 24-bit backup. The band/choir/group/artist gets a playable CD about a minute after I hit "finalize"; I have a HDD with 18 tracks to remix back at the edit suite, or to clone the .WAVs off to DVD for the band to play with in the DAW of their choice; and I have a 24-bit backup in case the Tascam burps or the HDD dies.

I have yet to have a band or choral director say... "Get that piece-of-crap Mackie out of here..." Usually they say (after a quick listen to whatever track they want to hear from the rough CD)... "Can you put us down for next year?"

YM, of course, MV

[Adebar]

However i need a system with quick bounce as im mostly going to be recording bands one after the other and wont have much time for bouncing, is there anyway to do this with PT M-powered? or will i need a different interface?

I would do that with a Metric Halo ULN-8. Record with the recording panel of the MIO Console and do the mixing also with the MIO console.

Mix Out of the console directly into Soundblade From there you can directly cut the CD.

Allo you need is a Mac and the ULN-8 which has already 8 preamps and ADDA concerters. Simple and fast with high quality.

[Allen Rowand]

Originally Posted by Adebar

All you need is a Mac and the ULN-8 which has already 8 preamps and ADDA concerters. Simple and fast with high quality.

This can also be done at a lower price point with a 2882; 8 mic pres, ADAT I/O and a built in mixer with DSP processing.

You can use the Record Panel to multitrack, while recording a stereo mix simultaneously. After the show, drop your tracks into any DAW (including PT) and do your final mix.

Best,
Allen

[henryrobinett]

Originally Posted by Allen Rowand

This can also be done at a lower price point with a 2882; 8 mic pres, ADAT I/O and a built in mixer with DSP processing.

You can use the Record Panel to multitrack, while recording a stereo mix simultaneously. After the show, drop your tracks into any DAW (including PT) and do your final mix.

Best,
Allen

This is what I was going to suggest. But you can record a rough two track mix on the fly to the record panel, in addition to your other tracking. Drag the stereo mix to your CD burning program after the gig and viola. You can add EQ, compression, reverb etc to the two track mix and not effect the other tracks.