8 Mics...2 inputs

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projectelroy

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Im considering buying a Tascam US-428...I wanted something like the M-Box or the Digi 001 with a mixer, so I think the 428 will be my best choice without having to buy the more expensive 002...

But I do have one problem with the 428...two XLR inputs...and I need at least 8 to record a full drum set. If Im stupid let me know, but is there a way that I can use all those mics, and somehow route it to 2 inputs?

Thanks to all in advance...I just started this message board, and Im already learning a lot...
 
Buy you a 8-channel mixer and plug all of the mics into the mixer and then come out of the 2 main outs (on the mixer) into the 2 inputs of the recorder. Get a mixer made buy someone like carvin or something. they have good stuff for good prices. ANd never let anyone call you stupid. there was a day when We all didn't know how to do this. (but i was born with a mic in one hand and a guitar in the other Ya!!!!!!:D )
 
At least 8 mics?? You got one on the throne too? I bought a Behringer( yea I know) UB1204 that has 2 sub groups. So its a 4 bus mixer. With it I run 2 overheads,snare and kick. those 4 signals come out 1/4 inch and go into 4 channels on the recorder. The recorder has 2 xlr's like yours which I use for toms. One picks up the two ride toms and one on the floor. That covers my 5 piece set very well. Go for some type of 4 bus mixer.
 
Thanks for the advice...whenever I have to record a smaller set Ill keep that in mind.

My drummer has a massive amount of symbols...and he has a wierd way of setting them all up. He insists that he records that way also. If I want everything I have to use 8 mics...

Peace
 
Unless the drummer is doing the tracking and mixing, tell him to let you do your job as you see fit.

If you're individually miking each of his many cymbals, that's just overkill.
 
The number of cymbals doesn't matter. Is he actually playing every one on every track? Just use the minimum amount of stuff needed for that song. The rest just gets in the way and creates more noise. If he fights you on this he is an ass.

The only way to track 8 mics to seperate tracks is to have a soundcard with 8 inputs.
 
Thanks guys for the input...Ive mapped out a couple ways to even use 5 mics...I think I got it.
 
projectelroy said:
My drummer has a massive amount of symbols...and he has a wierd way of setting them all up. He insists that he records that way also. If I want everything I have to use 8 mics...

Peace
Click to expand...

Get a new drummer
 
I have a hard time believing that 8 mics is going to do much more than 5 if in the end it is going down to a stereo pair in the first place. What kind of symbols does he have? Inverted pentagrams?
 
If money's an issue and you could deal with having only 6 XLR inputs on your mixer, I'd say go with the Mackie DFX-12. Mackie pre-amps are supposedly superior to Beringer pre's, and this mixer has built-in superior 32-bit effects for mastering, etc. It's a great deal, and an amazing product. They sell for around $240 at Musicians Friend, 8th Street Music, etc.
 
Thanks tomleblanc...Ill look into it a little more...although I I just got access to a Mackie 1604, so Im all set.

If you guys are familiar with Tool's Drummer Danny Carey, my drummer is trying to imitate his set. My drummer has a issue of Modern Drummer, and it states that Carey, on recording lateralus, used a differant mic on each side of the tom...I believe the guy has 5 toms...now thats a crap load of mics.

But yes I told him he was crazy...and that we are not Tool, and he isnt Danny Carey. I think he's done demanding.

And I do totally agree that 5 is all you need. But if you got a nine peice and a cymbol rack...maybe a little more would be preferable.
 
Big kits are hell to mic, and a hell of a lot of fun to mic. :D You drummer sounds a lot like my old drummer... very demanding, insanely stubborn, but very talented... :D

In similar circumstances i used 7 mics on the kit. The toms were a set of roto toms, 3 rack toms, 2 floor toms, and a "gong" bass drum behind the drummer. I used a mono overhead, kick, snare, and grouped the toms into four pairs, a 57 for the roto toms, a 57 between the 2nd and 3rd rack toms (the overhead was placed sort of above the first rack tom, centered above it and the snare) a 57 on the first floor tom (this also picked up a bit of the ride) and a Beta 52 placed between the last floor tom and the gong bass drum (the placement was wierd here, i pretty much aimed for the shells of the drums and about 4" away- I cranked it pretty hot, compressed and gated on the way in.) The bleed from the cymbals into the tom mics got the "stereo" effect on the brass (12! cymbals in all i believe) of the kit even with a mono overhead. A stereo overhead made it too phasey and difficult to mix- actually i just simply moved the second overhead down and over to catch the roto toms. This was subbed to four tracks. Kick, snare, and a stereo mix of the overhead and the toms. Going down from that many mics into 2, or in my case four tracks is definitly challenging.

These days, I'm recording mostly 4 and 3 piece kits and three mic is generally all i need/ want. Two overheads and a LD condensor about 4 feet in front of the kick. Ocasionally I'll spot mic the snare, or a tom- granted I now have better mics and a better room, which makes things so much nicer...
 
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