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What 8 ch pre should I buy to track drums? Heeellllllpppppp Multi-Channel Preamps
Old 7th February 2017
  #61
Lives for gear
Quote:
Originally Posted by DAWman View Post
The Aurora GTp8 still seems like the best bet to me! Saw it on Vintage King site for 4,995.00 which breaks down to 625.00 per channel which compared to stocking up on that many 1073's seems like a no-brainer
Here is the bobo question of the day...

I have been recording singer/songwriter style for a while now. My main interface is the Lynx Hilo. I basically record one instrument at a time but would like to record a drum kit (7 mics in my case).

For live use I have a A&H QU-16. A&H have recently updated the firmware so that the QU-16 can be used with Pro Tools.

That being said, I would love to invest in something like the GTp8. Given what I have above, what would be the best way to connect it?
Old 7th February 2017
  #62
Quote:
Originally Posted by Silvertone View Post
I was taught different, you got your lazy ass up out the the chair and went and repositioned or even changed the mic to get the desired result. I alway see EQ as a crutch when tracking. Also, I never need it as my kit stays permanently wired up at all times. Inspiration hits, arm some tracks, go.

I understand in a commercial studio situation that you might EQ with different kits coming in everyday and for speed... but Ive also seen engineers setting up the same EQ for project after project without ever hearing or seeing the kit. I always use to think WTF? In that case it is a crutch as they "think" they need to do this to make "their" sound happen.
Leaving the same kit set up...is great if you only ever want the same drum sound, right?

Your description of certain engineers above is certainly lazy...but that doesn't really relate to using EQ when tracking. I don't mind admitting I don't know how to move a mic to enable a high pass filter, and I don't see why, if my mics are working together well and all I need is a touch of extra brightness on an element that I could do later but hey, we're making decisions and committing - why you wouldn't reach for the EQ?

There's times when things are a crutch, sure - but you can't assume that. Tracking with EQ m is perfectly valid, and if the end result is good who cares? You don't get bonus marks for being purist if it doesn't sound as good that way; and the end listener rarely knows or cares about the capture technique.
Old 7th February 2017
  #63
Quote:
Originally Posted by Alrod View Post
Here is the bobo question of the day...

I have been recording singer/songwriter style for a while now. My main interface is the Lynx Hilo. I basically record one instrument at a time but would like to record a drum kit (7 mics in my case).

For live use I have a A&H QU-16. A&H have recently updated the firmware so that the QU-16 can be used with Pro Tools.

That being said, I would love to invest in something like the GTp8. Given what I have above, what would be the best way to connect it?
Probably best to start your own thread here...
Old 7th February 2017
  #64
Gear Maniac
 
Nick A.'s Avatar
 

Focusrite isa 828 is a solid 8 ch preamp. Can be used for anything really.
Old 7th February 2017
  #65
Lives for gear
 

Also look into used analog mixers with decent pres as you may use it for other functions and will have EQ on the front end before conversion. Frankly there are a lot of right answers with that budget. Audition as much as possible to narrow down the choices.

As for the tangent subject of mic placement vs. EQ . . . the textbook answer is mic selection first, mic positioning second (you can really change the EQ of a mic experimenting with off axis positioning), then EQ if needed before digital conversion. If you know what sound you want to commit to or just need to get the best out of whatever instrument is brought in to record, then many times what you get out of the mic selection and it's positioning is not enough, therefore EQ to tailor. Then there is the related subject of creative mic bleed to add to the party LOL. Bottom line, having the OPTION to analog EQ before conversion is a great tool to have.
Old 7th February 2017
  #66
Lives for gear
 
Silvertone's Avatar
Quote:
Originally Posted by psycho_monkey View Post
Leaving the same kit set up...is great if you only ever want the same drum sound, right?

Your description of certain engineers above is certainly lazy...but that doesn't really relate to using EQ when tracking. I don't mind admitting I don't know how to move a mic to enable a high pass filter, and I don't see why, if my mics are working together well and all I need is a touch of extra brightness on an element that I could do later but hey, we're making decisions and committing - why you wouldn't reach for the EQ?

There's times when things are a crutch, sure - but you can't assume that. Tracking with EQ m is perfectly valid, and if the end result is good who cares? You don't get bonus marks for being purist if it doesn't sound as good that way; and the end listener rarely knows or cares about the capture technique.
I stated when I saw crutches in the studio.

I'm not looking for any bonus points... for what? To say I'm the God king of knowledge. No I just shared my method that's all.

Do whatever you like, its art, it has no limits.

For me it's more important to get the sounds when the muse strikes... and yes and no to a certain extent to the drums sound the same. This is the digital age where my beautiful Gretsch drums can sound like trash cans if I want them to.

That said, sculpting sound after the fact and in the box is easy when you've captured all the frequencies you want. I'd rather hi pass and low pass after the fact... it's how I learned... it's what I do.

Carry on everybody.

Do what you do, have fun!

I really have nothing left to say.
Old 7th February 2017
  #67
Lives for gear
 
roger's Avatar
 

Mics are everything when tracking drums & as a long-time B's Neez pimp/promoter you should be more than covered in that camp!
The DAVS are good/solid but no output fader which I would find annoying.
Again: mics are so much more important than pres.....and the drums/room/drummer of course.
Old 7th February 2017
  #68
Quote:
Originally Posted by Silvertone View Post
I was taught different, you got your lazy ass up out the the chair and went and repositioned or even changed the mic to get the desired result. I alway see EQ as a crutch when tracking. Also, I never need it as my kit stays permanently wired up at all times. Inspiration hits, arm some tracks, go.

I understand in a commercial studio situation that you might EQ with different kits coming in everyday and for speed... but Ive also seen engineers setting up the same EQ for project after project without ever hearing or seeing the kit. I always use to think WTF? In that case it is a crutch as they "think" they need to do this to make "their" sound happen.
Again, I agree with this mentality. It's cool to have EQ if you need it, but I'd rather move mics or switch them out altogether. And again I'd rather have some compression on the way in than EQ.
Old 7th February 2017
  #69
Gear Guru
 
Drumsound's Avatar
There's an TAC sidecar in the classified setion that might be a great option.
Tac 1042 sidecar (amek)
Old 7th February 2017
  #70
Quote:
Originally Posted by psycho_monkey View Post
Leaving the same kit set up...is great if you only ever want the same drum sound, right?

Your description of certain engineers above is certainly lazy...but that doesn't really relate to using EQ when tracking. I don't mind admitting I don't know how to move a mic to enable a high pass filter, and I don't see why, if my mics are working together well and all I need is a touch of extra brightness on an element that I could do later but hey, we're making decisions and committing - why you wouldn't reach for the EQ?

There's times when things are a crutch, sure - but you can't assume that. Tracking with EQ m is perfectly valid, and if the end result is good who cares? You don't get bonus marks for being purist if it doesn't sound as good that way; and the end listener rarely knows or cares about the capture technique.
I don't think when talking about adding EQ anyone is talking about HPF. Any basic preamp without an EQ section will allow you to do this. You don't need a channel strip with an EQ section to get that functionality, which was where this talk came about. Having said that, many mics also have HPF options.
Old 8th February 2017
  #71
Quote:
Originally Posted by Silvertone View Post
I stated when I saw crutches in the studio.

I'm not looking for any bonus points... for what? To say I'm the God king of knowledge. No I just shared my method that's all.

Do whatever you like, its art, it has no limits.

For me it's more important to get the sounds when the muse strikes... and yes and no to a certain extent to the drums sound the same. This is the digital age where my beautiful Gretsch drums can sound like trash cans if I want them to.

That said, sculpting sound after the fact and in the box is easy when you've captured all the frequencies you want. I'd rather hi pass and low pass after the fact... it's how I learned... it's what I do.

Carry on everybody.

Do what you do, have fun!

I really have nothing left to say.
I don't disagree - it just felt there was a little of the "if you use EQ you're lazy/unable to move mics" attitude in your post. If I interpreted that wrong, I apologise.

Sometimes IMO moving mics is NOT the right thing to do though. Maybe backing off 6 inches will fix the EQ issue, but introduce spill and phase issues. A touch of EQ could fix without introducing further issues. Of course, if you're having to do drastic moves, it's probably NOT the right thing to do.

Interesting that you say "after the fact" is how you learned. I'd have thought (particularly with lesser track counts) you'd have learned to sculpt on the way in? I mean...I came in to the industry at a time when tape was common but not the norm...I've never really had to do a session without a computer somewhere, so I've always had that option. but if you're combining eg tom mics with overheads on 2 tracks of tape, wouldn't you EQ if needed then?

Quote:
Originally Posted by Jeremiah Sheets View Post
I don't think when talking about adding EQ anyone is talking about HPF. Any basic preamp without an EQ section will allow you to do this. You don't need a channel strip with an EQ section to get that functionality, which was where this talk came about. Having said that, many mics also have HPF options.
yes true. Lots and lots of preamps common for drums and in racks like this DON'T even have a HPF though - eg API, the current AMS Neve 1073 and many of the clones (I run my MA5 through an Electra just for the variable HPF at times), lots of others. Often I'll run my external pres through the line input on the desk so I can use the filters on the way in. Again - if it needs to be done, let's do it!

Kinda ironically though, I DON'T eq drums a lot when recording - I'm just not averse to if I think it needs it. And I rarely record the same kit twice in succession!
Old 8th February 2017
  #72
Gear Addict
 
Max The Dog's Avatar
 

Before you buy anything, check out the new Overstayer 8771. They are just now coming out. I've ordered a pair, based on my love of my Overstayer Modular Channel. The 8771s will fit in a sidecar, I think it might fit 10. Mic Pre, EQ, Filter section, Compressor, Saturation. I think they are a bit more than your budget, but not much.
Old 8th February 2017
  #73
Gear Maniac
 

Reply to Drum Question

Vintech 473 (8)

API 10 Channel 500 Series Rack

Cables

Rack case

https://www.sweetwater.com/store/detail/573

https://www.sweetwater.com/store/det...H48RoCkdzw_wcB

If you save more money you could get the Neve 1073LB and a API 10 Spce Rack.

Or Helios Type 69 Pre/EQ and an API 10 Space. The price would be considerably more. You can get them used for $800-1000.

If you don't want all matched Preamplifiers

Helios Type 69 Pre/EQ (4)
API Preamp (4)
API 10 Space Rack

If you like API take a look at

Vintage API Preamp Cards
Vintage Custom API Cards with Jensen 990 parts
and CAPI API Cards. There's a Capi card that's popular I forget the model.

Other Preamps to consider are

vintage Universal Audio Preamps
EMI Redd Tube Preamps or Telefunken V72 Pres
EMI TG or Chandler TG Pres
Helios Pres
Vintage API and Custom Vintage API Pres
Neve Pres
Old 8th February 2017
  #74
Lives for gear
Quote:
Originally Posted by Silvertone View Post
I was taught different, you got your lazy ass up out the the chair and went and repositioned or even changed the mic to get the desired result. I alway see EQ as a crutch when tracking.
really?
I was shown ('taught' being too strong a word) to get it sounding good, and fast, and get recording.
I could spend another 15 minutes hoping to get a dB more of the top in a mic by positioning it or changing miss, or I can just get that at the desk in 20 seconds. and for no disadvantage in the results.

I'm not saying I don't pick mics (based mostly on experience, not on the spot experimentation) and move them as NEEDED, but I'm also not at all shy about EQ. on either end.

as far s 'pre setting up' an eq
I will often, while the drums ar being set up, have an EQ 'ready' in the areas I know I am likely to need. Then I can easily say "no, it doesn't NEED any 100Hz" or " hmm maybe 4k instead of 3k" etc. But it's not reinventing the wheel every time.
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