would this setup theoretically work?

[connor413]

i'm currently running a xenyx 1204 mixer into a delta 44, which allows me to record 4 simultaneous tracks. the xenyx has two buses i can send signal through: the main outs and a subgroup called alt 3-4. i have my 4 mic inputs panned hard left and right, divided between the two outputs in order to separate them into different signals when they reach the delta (mic 1 - main L, mic 2 - main R, mic 3 - alt L, mic 4 - alt R).

now i just remembered that i still have a stereo usb interface (this) that came with the xenyx. if i were to pick up a couple XLR to RCA adapters, could i plug two mics into the mixer's tape inputs, direct those to the control room outputs and connect those to the inputs on the usb interface?

here's the xenyx: front and back (warning, these pictures are 2000px). next to the main meters, there's a few a buttons that control what goes to the control room outs. i figure if only the tape button is depressed, i would have two isolated signals that i could pull from those rca inputs.

i checked and my daw seems to have the capability to record separate signals from the usb's left and right inputs, so i'm basically asking if connecting mics through RCA inputs and sending that signal through to the control rooms outs would be an issue. thanks for any help

 

[Chili]

Two things come to mind;

1) a mic won't be able to drive the Tape Ins. The voltage is too low. You would need separate mic pres for each mic.

2) Verify that your DAW can accept inputs from different interfaces, most can't.

What are you recording that you need more than 4 inputs? A whole band at once, I can see. A lot of times, you can get away with less channels than you think.

hth,

 

[connor413]

Two things come to mind;

1) a mic won't be able to drive the Tape Ins. The voltage is too low. You would need separate mic pres for each mic.

is this something a DI box or impedance matcher could fix, or is that completely unrelated?

2) Verify that your DAW can accept inputs from different interfaces, most can't.

i set up 6 different tracks in sonar without a problem; 4 coming from the delta and 2 from the usb interface, though i haven't actually hit record with this configuration yet

What are you recording that you need more than 4 inputs? A whole band at once, I can see. A lot of times, you can get away with less channels than you think.

i've been recording drums with the glyn johns setup, but when it comes down to the final mix, the toms are usually too low. i know i could do some editing and stuff, but having an additional two inputs would make it a lot easier

 

[Chili]

is this something a DI box or impedance matcher could fix, or is that completely unrelated?

Unfortunately no, you've got to get the voltage up to line level. And if you run them into the Tape Ins, why don't you just go into the UCA thing instead? Don't need the Tape Ins.

Mic> Mic Pre> UCA>Computer

i set up 6 different tracks in sonar without a problem; 4 coming from the delta and 2 from the usb interface, though i haven't actually hit record with this configuration yet

Well, if you can set it up, it will probably work for you. I have Sonar and can only get one interface at a time. Hmmm, I must be missing something.

i've been recording drums with the glyn johns setup, but when it comes down to the final mix, the toms are usually too low. i know i could do some editing and stuff, but having an additional two inputs would make it a lot easier

For sure.

 

[connor413]

And if you run them into the Tape Ins, why don't you just go into the UCA thing instead? Don't need the Tape Ins.

Mic> Mic Pre> UCA>Computer

i don't have any external preamps lying around, so i plugged the mics into a couple guitar pedals and actually got a good signal going into my daw

Well, if you can set it up, it will probably work for you. I have Sonar and can only get one interface at a time. Hmmm, I must be missing something.

sure enough, as soon as i hit record the uca is 'in use'. oh well.

 

[bdenton]

i've been recording drums with the glyn johns setup, but when it comes down to the final mix, the toms are usually too low. i know i could do some editing and stuff, but having an additional two inputs would make it a lot easier

Assuming you're using four mics for the Glyn Johns setup, just remember that Glyn Johns did it quite successfully with just four mics (as have many others)...

Two things to try:

Keep in mind that when Glyn Johns came up with his micing technique, it was not common to use a separate mic on each drum, cymbal, cowbell, etc. So, drummers, both live and recording, had to learn how to play a balanced kit, i.e. if the toms aren't loud enough, hit them harder; if the cymbals are too loud, hit them softer. The Glyn Johns method is predicated on the drummer playing a balanced kit; you won't get good results if the drummer doesn't do that, so have your drummer work on his/her technique.

Adjust your mic placement and position. The Glyn Johns method provides a starting point for doing your initial mic setup. But both recording rooms and drummers vary. Glyn Johns is not going to come over and beat you with a stick if you have a mic an inch closer (or farther) than the "method" calls for; he's not going to punch you in the face if a mic is turned 10 degrees off from what is described in the "method".

A good recording requires both a good drummer and a good engineer. Without those, throwing more equipment or money at the problem is not going to solve it...

 

[TimOBrien]

Basic mistake: You want to cobble together multiple interfaces.

ASIO, the low-latency drivers you WANT to use only recognizes one device driver at one time.

You can really only reliably gang together interfaces from the same manufacturer that run under one ASIO instance.

Save your pennies and get a bigger interface with more ins/outs.

 

[grimtraveller]

Those mean streets of Streatham......

Keep in mind that when Glyn Johns came up with his micing technique, it was not common to use a separate mic on each drum, cymbal, cowbell, etc. So, drummers, both live and recording, had to learn how to play a balanced kit, i.e. if the toms aren't loud enough, hit them harder; if the cymbals are too loud, hit them softer. The Glyn Johns method is predicated on the drummer playing a balanced kit; you won't get good results if the drummer doesn't do that, so have your drummer work on his/her technique.

A priceless point to remember forever and a day. In the same way that when using VSTis, one doesn't just load in a sound and play the controller keyboard ~ tweaking has to be done and balance through controlled playing maintained to prevent fake sounding stuff.

The Glyn Johns method provides a starting point for doing your initial mic setup. But both recording rooms and drummers vary. Glyn Johns is not going to come over and beat you with a stick if you have a mic an inch closer (or farther) than the "method" calls for;

But he might......

Glyn Johns is not going to punch you in the face if a mic is turned 10 degrees off from what is described in the "method".

But just dare turn it 13.5 degrees......He'll head over to wherever you are and punch your lights out !