Hey there everyone.
I have been on this board since its inception and on our old one for years before that. I am back here almost everyday, but can't always post. I am a 43yo corporate jet pilot for my main job, but I record at home as a hobby, as well as do live sound for friends. I've been doing both since high school. Everything I know about recording and live sound is from years of reading, working with others, and trial and error. That probably trashes my credibility, but so be it. I also play drums (since I was 12), and have been involved with several bands over the years, as well as music programs in high school and college. I was a music Ed. major with a percussion minor for 3 years at U of MD, before changing to English and graduating in Dec of '93, then going to pilot school. I am gone often, so I don't constantly have bands coming in and out like many of you. I have a few regulars, mostly inexperienced, as well as tape/vinyl transfers and I just go with that. Since I have 3 kids, my time is also often tied up with them. Here is an album I just finished for a Christian artist named Lana Witmer;- http://www.cdbaby.com/cd/lanawitmer -. I am currently working with a punk sound based artist. A whole different thing from Lana's stuff!
I have learned so much from these forums, and, as it has been said so many times before, this is definitely the best forum I have been on. The users/posters are both cordial and intelligent which I came to really appreciate over the years. We get very few inquiries like "....I just bought a DM....how do I record my band and get signed?" or " ....I just bought a 5000 dollar mic. So, what does "MIC" stand for again?" Which are pretty common questions on other pro audio boards. So, Cheers to TascamForums, its members and a special thanks to the moderators. I just wanted to say that. I really enjoy being part of it.
I have been asked how I have my rig setup and routed, so I thought I would share. It's not very impressive, but it may help others somehow. I bought my DM3200 back in Feb 2008, used, from Palace Studios, over EBay. Come to think of it, almost everything I have is from EBay. Or Parts express. I almost bought a large analog board (I had been using my Mackie Onyx 1640 previously), but I wanted to keep things compact, and still have all of the flexibility of digital. You probably bought your DM for the same reasons.
My "home Studio" is set up like this....I have a full size desk from Dash Studio Furniture that houses my 3200, with effect racks on both sides. For an OLD picture, see here: http://www.dashrecordingstudiofurniture.com/DC.html Mine is the 3200 obviously. My setup has changed quite a bit since then, but the desk hasn't. All that stuff is in what would be our dinning room, on the first floor of my house. Below that, in our basement, I built a soundproof, and pretty dead, 12ft X 16ft tracking room, where I house my drums, guitar amps, and a ton of "impulse buy" mics. I have a 24 channel snake in there and I run all mics through that, up to my board in the dining room. I have two patch bays, some outboard pres and effects, and a wonderful digital patch bay that I love, the midiman DigiPatch 12x6.
For the most part, I mix in a hybrid way. I typically track one or two tracks at a time and layer instruments and voices to create a raw mix. I may have the drummer start, playing my drum kit to a metronome sent out from Reaper, or a scratch track. I record my drums directly into the MIC inputs in the DM, 1=kick, 2=snare top, 3=snare bottom, 4=HiHats, 5-8 are my four toms, 9-10 are my overheads, set left and right, 11 is usually a mono room mic, I might add another room mic on input 12. For no particular reason, input 13 is usually a TB mic for the player, 14 and 15 are usually for instruments, like guitar or bass and I usually record a DI track from the guitars, so I can add in a different guitar sound later, if necessary, via software. Ch 16 is my own TalkBack mic, a 58, which I turn on or off at my board via the footswitch input. Sorry Tascam, I can't understand why the built in talkback mic is at the top of the board. Since my snake is 24 channels, I use snake CHs 16-24 for various separate preamps for vocals, or acoustic. I am not a very big MIDI user as you can see. Although, I keep a Roland XV-5050 in my rack and have some VSTis if I need them. (addictive drums, and some synth stuff) I also keep a novation ReMote 49SL compact keyboard controller up here just in case I need it.
I have been using Reaper for some time now, which I still like, and AA3 for wave editing and creating CDs. Let me stop here and say, YES, I know the more expensive software is better, with all the included effects, but I have this and enjoy using it. I've always been very close to picking up Cubase, I just haven't yet, and reaper is very easy to use with flexible routing, and is 64bit point to point at any sample rate. OK, that said, as for my routing, I usually send each input directly to a corresponding FW channel, using Input Bypass in the routing screen, to a corresponding track in Reaper, and I also assign each input to a channel in the DM for monitoring out through the stereo buss. This allows me to record each track raw and unaffected into reaper, while simultaneously mixing for a headphone/monitor cue . I do not record out from the Buss channels, mainly because I mix most of the stuff ITB in Reaper. Once I have the waveforms worked out in reaper, with initial comps and EQ, and maybe some reverb as well, I can buss those tracks within Reaper, and send those bussed tracks back into the DM as a few stereo tracks. Similar to Stem tracks. For example, I like to mix my acoustic drum tracks to a 2 track stem and send that to paired CHS 1-2 (using "INVERT" and RTN) in the DM. Then I do the same thing for guitars, vocals, etc., adding more comp/limit and EQ and maybe some effects from the DM. I then mix those OTB in the DM and send them out the STEREO buss, back into a stereo track in Reaper. When I am happy with it, I put it up in AA3 and make any last revisions, like final volume leveling, and put it on a CD list where it is converted to 44.1/16bit and burned, or saved to a file as a .wav file, and/or MP3.
I have my DM layers as follows...1-16 are set to 1-16 mic/line inputs, normally for tracking. For OTB mixing, I "invert" 1-16 and have the returns from the FW set for my RTN inputs for each channel. I haven't needed more than these 16, since I am using stems form Reaper, but I do the same for channels 17-32 on that layer, just because I can. Normally for tracking, I have 17-24 coming in from my upper patchbay. These may include preamp outputs (2 CHs FMR-RNP, 4 CHs Sytek MPX-4A, 1 CH ART PRO Channel, and 2 CHs ART PRO MPAII), the send from my Tascam 3030 R2R, the send from a Motorola Bluetooth receiver or other stuff, ie a SONY cassette deck, AKAI R2R, Audio-TechnicaTurntable.... CH layer 33-46 is reserved for effect returns, DMs Digital returns, 8 channels of ADAT or 8 channels of TDIF from an old but still good MOTU 2408. Also, I REALLY like the setup where you can send any channel's outs to the onboard effects via two stereo auxes (using the encoder knobs) and hav them return to two channels on the board. That little thing is VERY helpful, especially for a headphone mix with some reverb. Its in the forum sticky stuff if you are interested.
I record everything at 88.2. I don't have a very good reason other than it sounds fine and the file size is not too big and the conversion back to 44.1 doesn't mess with the wave file because I am just halving the sample rate (is my belief). I used to clock off of a Lucid GenX 192, which is still in my rig, but is used more for distributing the Dm's clock. Short explanation was that I bought into the idea of needing to clock everything externally. But when I really listened to my stuff clocked externally or internally, I found no difference. I have since bought into the idea that the piece doing the recording should be the master clock for initial conversion, ie the DM, which has a fine clock circuit. I distribute that into Berhinger ultramatch PRO, (don't hurt me) to cut the sample rate down to 44.1, (since you can't do this in the DMs outs) which then goes to a TC Helicon Voice works, a lexicon MX200, a TC Electronic C300 digital comp (which I have yet to use), and the MOTU 2408. Those outputs are then routed into the midiman patch bay, and back to the DM's digital inputs where they are resampled back to 88.2.
That's my setup in a nutshell. Now my fingers hurt from typing and lunch is on the table. I hope this might help someone else. Post any questions and I will try to reply. Take care,
Steve
I have been on this board since its inception and on our old one for years before that. I am back here almost everyday, but can't always post. I am a 43yo corporate jet pilot for my main job, but I record at home as a hobby, as well as do live sound for friends. I've been doing both since high school. Everything I know about recording and live sound is from years of reading, working with others, and trial and error. That probably trashes my credibility, but so be it. I also play drums (since I was 12), and have been involved with several bands over the years, as well as music programs in high school and college. I was a music Ed. major with a percussion minor for 3 years at U of MD, before changing to English and graduating in Dec of '93, then going to pilot school. I am gone often, so I don't constantly have bands coming in and out like many of you. I have a few regulars, mostly inexperienced, as well as tape/vinyl transfers and I just go with that. Since I have 3 kids, my time is also often tied up with them. Here is an album I just finished for a Christian artist named Lana Witmer;- http://www.cdbaby.com/cd/lanawitmer -. I am currently working with a punk sound based artist. A whole different thing from Lana's stuff!
I have learned so much from these forums, and, as it has been said so many times before, this is definitely the best forum I have been on. The users/posters are both cordial and intelligent which I came to really appreciate over the years. We get very few inquiries like "....I just bought a DM....how do I record my band and get signed?" or " ....I just bought a 5000 dollar mic. So, what does "MIC" stand for again?" Which are pretty common questions on other pro audio boards. So, Cheers to TascamForums, its members and a special thanks to the moderators. I just wanted to say that. I really enjoy being part of it.
I have been asked how I have my rig setup and routed, so I thought I would share. It's not very impressive, but it may help others somehow. I bought my DM3200 back in Feb 2008, used, from Palace Studios, over EBay. Come to think of it, almost everything I have is from EBay. Or Parts express. I almost bought a large analog board (I had been using my Mackie Onyx 1640 previously), but I wanted to keep things compact, and still have all of the flexibility of digital. You probably bought your DM for the same reasons.
My "home Studio" is set up like this....I have a full size desk from Dash Studio Furniture that houses my 3200, with effect racks on both sides. For an OLD picture, see here: http://www.dashrecordingstudiofurniture.com/DC.html Mine is the 3200 obviously. My setup has changed quite a bit since then, but the desk hasn't. All that stuff is in what would be our dinning room, on the first floor of my house. Below that, in our basement, I built a soundproof, and pretty dead, 12ft X 16ft tracking room, where I house my drums, guitar amps, and a ton of "impulse buy" mics. I have a 24 channel snake in there and I run all mics through that, up to my board in the dining room. I have two patch bays, some outboard pres and effects, and a wonderful digital patch bay that I love, the midiman DigiPatch 12x6.
For the most part, I mix in a hybrid way. I typically track one or two tracks at a time and layer instruments and voices to create a raw mix. I may have the drummer start, playing my drum kit to a metronome sent out from Reaper, or a scratch track. I record my drums directly into the MIC inputs in the DM, 1=kick, 2=snare top, 3=snare bottom, 4=HiHats, 5-8 are my four toms, 9-10 are my overheads, set left and right, 11 is usually a mono room mic, I might add another room mic on input 12. For no particular reason, input 13 is usually a TB mic for the player, 14 and 15 are usually for instruments, like guitar or bass and I usually record a DI track from the guitars, so I can add in a different guitar sound later, if necessary, via software. Ch 16 is my own TalkBack mic, a 58, which I turn on or off at my board via the footswitch input. Sorry Tascam, I can't understand why the built in talkback mic is at the top of the board. Since my snake is 24 channels, I use snake CHs 16-24 for various separate preamps for vocals, or acoustic. I am not a very big MIDI user as you can see. Although, I keep a Roland XV-5050 in my rack and have some VSTis if I need them. (addictive drums, and some synth stuff) I also keep a novation ReMote 49SL compact keyboard controller up here just in case I need it.
I have been using Reaper for some time now, which I still like, and AA3 for wave editing and creating CDs. Let me stop here and say, YES, I know the more expensive software is better, with all the included effects, but I have this and enjoy using it. I've always been very close to picking up Cubase, I just haven't yet, and reaper is very easy to use with flexible routing, and is 64bit point to point at any sample rate. OK, that said, as for my routing, I usually send each input directly to a corresponding FW channel, using Input Bypass in the routing screen, to a corresponding track in Reaper, and I also assign each input to a channel in the DM for monitoring out through the stereo buss. This allows me to record each track raw and unaffected into reaper, while simultaneously mixing for a headphone/monitor cue . I do not record out from the Buss channels, mainly because I mix most of the stuff ITB in Reaper. Once I have the waveforms worked out in reaper, with initial comps and EQ, and maybe some reverb as well, I can buss those tracks within Reaper, and send those bussed tracks back into the DM as a few stereo tracks. Similar to Stem tracks. For example, I like to mix my acoustic drum tracks to a 2 track stem and send that to paired CHS 1-2 (using "INVERT" and RTN) in the DM. Then I do the same thing for guitars, vocals, etc., adding more comp/limit and EQ and maybe some effects from the DM. I then mix those OTB in the DM and send them out the STEREO buss, back into a stereo track in Reaper. When I am happy with it, I put it up in AA3 and make any last revisions, like final volume leveling, and put it on a CD list where it is converted to 44.1/16bit and burned, or saved to a file as a .wav file, and/or MP3.
I have my DM layers as follows...1-16 are set to 1-16 mic/line inputs, normally for tracking. For OTB mixing, I "invert" 1-16 and have the returns from the FW set for my RTN inputs for each channel. I haven't needed more than these 16, since I am using stems form Reaper, but I do the same for channels 17-32 on that layer, just because I can. Normally for tracking, I have 17-24 coming in from my upper patchbay. These may include preamp outputs (2 CHs FMR-RNP, 4 CHs Sytek MPX-4A, 1 CH ART PRO Channel, and 2 CHs ART PRO MPAII), the send from my Tascam 3030 R2R, the send from a Motorola Bluetooth receiver or other stuff, ie a SONY cassette deck, AKAI R2R, Audio-TechnicaTurntable.... CH layer 33-46 is reserved for effect returns, DMs Digital returns, 8 channels of ADAT or 8 channels of TDIF from an old but still good MOTU 2408. Also, I REALLY like the setup where you can send any channel's outs to the onboard effects via two stereo auxes (using the encoder knobs) and hav them return to two channels on the board. That little thing is VERY helpful, especially for a headphone mix with some reverb. Its in the forum sticky stuff if you are interested.
I record everything at 88.2. I don't have a very good reason other than it sounds fine and the file size is not too big and the conversion back to 44.1 doesn't mess with the wave file because I am just halving the sample rate (is my belief). I used to clock off of a Lucid GenX 192, which is still in my rig, but is used more for distributing the Dm's clock. Short explanation was that I bought into the idea of needing to clock everything externally. But when I really listened to my stuff clocked externally or internally, I found no difference. I have since bought into the idea that the piece doing the recording should be the master clock for initial conversion, ie the DM, which has a fine clock circuit. I distribute that into Berhinger ultramatch PRO, (don't hurt me) to cut the sample rate down to 44.1, (since you can't do this in the DMs outs) which then goes to a TC Helicon Voice works, a lexicon MX200, a TC Electronic C300 digital comp (which I have yet to use), and the MOTU 2408. Those outputs are then routed into the midiman patch bay, and back to the DM's digital inputs where they are resampled back to 88.2.
That's my setup in a nutshell. Now my fingers hurt from typing and lunch is on the table. I hope this might help someone else. Post any questions and I will try to reply. Take care,
Steve
