Just wondering how everyone else records the tracks they make on the DT? I keep going back and forth between just recording the stereo master track of all 8 tracks combined or recording each track one by one. I can see advantages to both. I actually often like the way the stereo track seems to gel the sounds together but I miss the control of having each track individually recorded. Also, just recording the stereo out seems to make performance (muting, pattern changes, real time parameter tweaking) much more seamless.
Lately, I have been recording a stereo track with performance cues, mutes, pattern changes as a sort of map to then go and individually record tracks. This is time consuming especially if you have to then make the same pattern changes on each individual track but the results can be pretty cool (I typically try keep the original stereo track in the mix if it doesn’t cloud things up too much). But this tactic can also sometimes not be the sum of its parts where the stereo track alone would’ve sounded better.
I have been messing around with stereo tracks recorded into a cassette 4 track for some extra texture which has been fun but ultimately feels like something I can’t really build into a finished song.
I know OB will be out sometime but even then I do like to process the tracks on the way in so I might not use it much for tracking.
What are some strategies you have employed to get the most out of recording the DT?
I don’t see why one wouldn’t be able to squeeze a good mix out of the stereo pair. If one was going to post process the tracks it seems you could also spend the time pre-processing before things go in the DT…
If I were you I’d do both as best as you can, stereo pair with pre-processing, and separate track with post, and then listen intently to decide if multitrack is worth the extra effort, at least for the time being until the Bridge lands…
Where I wait for OB like a crazy, I can’t wait for the music.
I record the stereo pair, jam out like performance.
As the record is already run I also at times record a few bits
here and there solo from the project.
If I do this, I use these bits as breaks intro or variation.
very sparing.
Now it sounds great.
But proper production must wait for OB.
or spend a melting brain time output all that
bits until you do hate the music!
Thanks for the replies. YoniDen, that seems like a pretty cool way to do it. The other big question I’ve been having is how to make breakdowns and variations. This method seems like it could be really effective for that.
I tend to track it out in one semi-planned take (well, sometimes, quite a few takes), with the DT sequencing other gear. I try to do quite a bit of filtering/careful sample selection to try and get a good mix out of the DT. It works Ok while I wait for OB. I wouldn’t consider any of my stuff “done” really, but it means I can be productive. I do a bit of processing in Logic (compression, EQ). I’m not really patient enough to solo tracks and do them one at a time, and there tends to be a bit of improvisation as I record, so just doing it one take works best for me
When OB comes out, the DT will probably end up more like a sketch pad in early stages of ideation, and then relegated to really just being a drum machine later on (everything being sequenced by Logic), which isn’t going to be anywhere near as much fun and hands-on, but will probably be quite a bit more polished.
Yea, if your DT is sequencing other gear - and that’s how I use it, I try to avoid putting any melodic or harmonic elements in the DT, just stick to using it for drums - you can get a multi channel input device and have all your synths go to different tracks. I can record 16 channels simultaneously in my MIDI studio and I use every single one often! When OB arrives, it will be quite amazing, to track 24 channels of audio all at once.
I was curious about this once Overbridge comes-
Will I be able to stream individual audio tracks from the Digitakt via usb PLUS get other audio tracks from external instruments from essentially a 2nd audio interface?
Maybe I’m wrong, but I think that is the point of the 8-track individual streaming from DT. You can use it alongside your A/D converter, in your DAW, and everything will hopefully be in sync. Those that have an A4 and use OB for individual out tracking would know.
I got an ARmk1 with OB1 Kenobi…
The standard way of using it is that you load the OB plugin in your DAW, and the tracks stream out of it. So yes in that situation the OB audio comes out of your main audio interface, and all of its inputs and outputs are still available…
AR mk1 with OB1 also works as an audio interface, if used that way you must set up an “aggregate audio device” (Mac term) which basically allows your DAW to see multiple interfaces as one, in order to access all the ins and outs of both… This is a less common use though and only comes up for certain peoples more complex setups or workflows.
Most users stream out of the plugin as said above and still have full access to their interface…
Just curious about tracking using the stereo outs. If all the samples are played in mono, is there any downside in tracking using the two stereo outs? Especially if you are not utilising any stereo effects/panning.
I’m thinking specifically about my kick. I like recording using the analog outs, but I wonder if I am better off using OB to get a “true mono” recording of my kicks if they are mono.
You are fine recording from the analog outputs if thats what you prefer. Is there a reason why you are not panning or using the stereo fx?
If I recall correctly Overbridge overwrites any stereo panning and LFO panning and keeps only the Digitakt’s stereo effects in a master track (with or without the other tracks) + all the dry mono tracks. That’s why I prefer to record from the analog outputs, if I already like how it sounds and dont’ need to edit tracks individually.
Anyway, check out this release by former Elektron team member Ess. It’s recorded straight from the analog outputs of the DT.
To be honest, I’m all set up to multitrack record through OB, but don’t use it.
For me, it’s more effective to record the mains through OB, as then I get proper panning and effects. For example I like to use an LFO on panning for my hats, and that will not come through on the mono track.
It looks super cool to multitrack record, but for my workflow it’s easier to just record the stereo audio clip I want, and then loop and compose with it in my daw.
That tune is filthy! I may be overthinking, but let me clarify a bit: my hope is to have the DT hooked up to lay down 8 individual tracks without fiddling with changing wires. I can then process those individual tracks in ableton. However I want to keep the stereo pan/fx from the tracks that use those, so I can’t stream all 8 tracks at once over OB, since OB doesn’t work that way. I have to record the song 8 times, soloing one of the tracks each time.
I can do that tracking using OB from the DT post mixer, or just use the analog outs. But is it weird to have a “stereo” recorded track of just the kick drum if I want that to be perfectly centered in the mix? In that way, I may be better to just record the OB mono tracked version of my kick.
If it makes any difference, I use a few other synths/instruments with the 8 DT tracks, so that is why I want to process each of those 8 tracks separately. Easier to sort out frequency masking and master processing that way.
I sometimes isolate melodic elements as individual tracks for OB, but route percussion through the main outs. Like I will mute tracks 6-8 on the audio routing page and not apply any effects to them on the DT, but capture them individually in OB and apply effects in Ableton. But for tracks 1-5, I will compress, pan, delay, etc, on the DT and capture them through the main stereo out.