Low frequencies on the inside tracks???

M

MartyMcFly

New member
Hay,
I know this is probably a stupid question but I dont know since I am new to RTR recording. The question is on an 8 track or any other for that matter...What tracks should I use for low frequency instruments and what ones for the Hi-Frequencies. There is supposed to be a preferd way. So what is it?
 
The outside edges of the tape are the most unstable, so keep instruments (that have high end response) off the outside tracks. Put the bass and kick, for example, on tracks 1 and 8.
 
Tanks...I guess you can think of it like you put your delicate High-Frequencies in the middle and surround or protect them with the tough Low-Frequencies...
 
MartyMcFly said:
I guess you can think of it like you put your delicate High-Frequencies in the middle and surround or protect them with the tough Low-Frequencies...
Click to expand...

Yeah, your critical stuff in and around the center and less critical on the outside.;)
 
So if you've got a sync code on track 8 / 16 etc; what is the best sound to use IF you need to use the adjacent track channel?

Just wondering the best way exactly to assign the tracks?
 
trancedental said:
So if you've got a sync code on track 8 / 16 etc; what is the best sound to use IF you need to use the adjacent track channel?
Click to expand...
Depends on the track width. If you're 1/4" 8-track or 1/2" 16-track, my recommendation is don't use it. If you've got 1/2" 8-track or 1" 16-track, you're fine with most kinds of track. I usually put the vocals on track 7 myself, but I've also done synths, even the drum machine. Try to avoid something which goes very loud though, as I have very occasionally managed to punch a dip in the timecode by doing that.
 
Is it normal for the edge tracks to have more bass response than the inside tracks? I was calibrating for the first time last night and I noticed the 100 Hz tone was about 1 to 1.5 dB down on the inside tracks compared to the outside tracks, and I was unable to raise it with the trim pots.
 
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