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Nice preamp through bad converter or bad preamp through nice converter? Audio Interfaces
Old 6 days ago
  #1
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Thread Starter
Nice preamp through bad converter or bad preamp through nice converter?

I’m going to be tracking drums next weekend. I have a couple nice (or nice-ish) preamps and am trying to figure out how to get the most out of them. I’ll prob record 12 or so mics. I have 8 inputs on an Apogee Ensemble Thunderbolt, and then another 8 on a Behringer ADA8200. I also have a Warm 412 and a Great River MP-2NV (for a total of 6 outboard pre channels).

I’m trying to figure out where to put the Warm and Great River. I’ll put them on the most important mics, but then into which converter? Should the most important mics get the Warm and Great River and then also the better Apogee converters, which means needing to put more less-important mics through the lousy Behringer preamps? Or should I put the outboard pres through the Behringer at line level (thus running the nicer preamps through the worse converters), so that all the mics going straight in can go through the better Apogee preamps?

I would appreciate any advice anyone has on the matter.
Old 6 days ago
  #2
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Use one unit to track the drums and the other for the rest of the band.
Old 6 days ago
  #3
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I’d prob go best converters for the elements that need smoothly captured top end, with whatever preamps you pick for the source/mic.

Send things like toms, kick through the lesser converter and then overheads, any mics supporting cymbals + snare mic/s through the better converter.
Old 6 days ago
  #4
If it were me, I would record the kit using 8 mics....or however many you have that are good mics, good pre-amps and good converters.
Old 6 days ago
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thismercifulfate's Avatar
The ADA8200 isn't THAT bad man. You make it seem like it's going to catastrophically affect the audio quality - it's not! Putting your hihat mic and snare bottom through it won't take away anything from your production. If the source sounds great, the drummer is solid and you're using quality mics and place them well you can't really screw it up!

I'd put the kick in and kick out on the Great River into ensemble ch1+2, snare top and toms on the Warm into ensemble ch3-6, overheads into the Ensemble pres on ch7+8 and everything else through the ADA8200.
Old 6 days ago
  #6
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Thanks. This is all really helpful. And yes, I guess calling the Behringer "bad" isn't fair. I was just simplifying by creating a dichotomy between a "bad" Behringer, and a "good" Ensemble/outboard pres. But the truth is that the former isn't completely "bad" and the latter are not completely "good."

I'm a little unsure about how to think about the Room mic(s) though. Should I be thinking about them as more important or less important mics, in the grand scheme of things--with more important mics receiving "better" treatment (outboard pres going through the Ensemble), and less important mics receiving "worse" treatment (straight into the Behringer)? I'm sure the answer is it depends on all sorts of factors, but in general, which way do folks lean when they're thinking about Room mics?
Old 6 days ago
  #7
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thismercifulfate's Avatar
Quote:
Originally Posted by franktree View Post
I'm a little unsure about how to think about the Room mic(s) though. Should I be thinking about them as more important or less important mics, in the grand scheme of things--with more important mics receiving "better" treatment (outboard pres going through the Ensemble), and less important mics receiving "worse" treatment (straight into the Behringer)? I'm sure the answer is it depends on all sorts of factors, but in general, which way do folks lean when they're thinking about Room mics?
Here your actual room, mic selection and placement will make all the difference. If you don’t have a very large room, you can try pointing the mics away from the drums. Additionally, placing some gobos between the mics and the kit can help create some extra delay. Omni mics will capture the most low-end at a distance. I think the pres and converters matter little.
Old 5 days ago
  #8
Recording 12 mics around a drum kit is already tough.
I would still advise starting with the most minimal mic'ing, then only adding mics one or two at a time until the kit sounds good.
Old 5 days ago
  #9
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Dear @franktree don't miss the opportunity to 'double up' a particular mic position in the room, running two identical microphones; one into each preamp/converter path. Level-match the captures and listen. In that way you can satisfy yourself about how much difference there is between the 'good' and the 'bad' paths.

An experiment in your own environment with your own equipment is worth far more to your than silent typed opinions and strategies from afar.
Old 5 days ago
  #10
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Thread Starter
Quote:
Originally Posted by chrisso View Post
Recording 12 mics around a drum kit is already tough.
I would still advise starting with the most minimal mic'ing, then only adding mics one or two at a time until the kit sounds good.
Fair point, although the micing I’m planning on doing is pretty standard I think:

OH L&R (2)
Snare top & bottom (2)
Kick in & out (2)
Both toms (top only) (2)
Hi-hats (1)
Room(s) (1-3, depending)

So I don’t think it should be too difficult. I haven’t heard the room yet, so the # and placement of room mics will just depend on the room once I get there.
Old 5 days ago
  #11
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Thread Starter
Quote:
Originally Posted by MediaGary View Post
Dear @franktree don't miss the opportunity to 'double up' a particular mic position in the room, running two identical microphones; one into each preamp/converter path. Level-match the captures and listen. In that way you can satisfy yourself about how much difference there is between the 'good' and the 'bad' paths.

An experiment in your own environment with your own equipment is worth far more to your than silent typed opinions and strategies from afar.
Yes, excellent idea. I will try to save some time to do that.
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