periscope said:
well gg ive got my rythem guitar on one track and my leads on another and vocals on three but what i was wanting to do is put those three on one track to buy me some space for micing out the drum kit and so forth when im ready thanks all
OK, I agree with Axel about keeping your source tracks (so you have those as well as the tracks you bounce) AND about keeping a track sheet ... like copies of the one in the back of the manual (I created one in Excel based on that sheet, but modified it a bit for how I really work).
A question: do you have 3 tracks of vocals, or are you saying your vocal work is on Track 3?
If it's the first, you probably have enough tracks available without any bouncing:
1 vocal track
2 guitar (one rhyth, one lead)
1 bass guitar (haven't seen this mentioned in your description)
4 drum inputs (max)
8 tracks total.
As for drums, I'd say, considering you're going to be submixing (combining multiple tracks) and bouncing with the VS, try to mic your drums with a maximum of 4 mics (2 overheads, 1 snare if you need it, 1 kick). Keep it to 3 mics if you can. Submix (bounce that down) to a stereo pair.
If you have 3 vox tracks, I'd do this for your final submix landscape:
1 lead vocal -- keep separate
2 harmonies -- keep each separate or bounce a stereo pair
2 guitars -- keep separate
1 bass guitar -- keep separate OR bounce with kick drum
2 drum tracks -- either just stereo overheads in original format, or a bounce of 3 or 4 drum tracks bounced as a stereo pair.
Total: 8 tracks.
I hate working with such a limited number of tracks ... that's why I go into the computer with it all now. But if your not going that route, I this is probably what I'd do .... consider that the role these instruments play in the song will dictate which ones are trickiest to mix in -- the tricky ones you should keep separate (not submixed) for as long as possible. Does this make sense?