I’m currently rethinking my workflow. While it’s a pipeline that works for me in theory, it’s one that I don’t have the practical space for. It requires swapping and switching gear from shelf to desk, desk to table top, and so on, and it’s a chore that sometimes blocks me from writing.
So one of the things I’m considering is to stick with just the single stereo pair throghout the chain. It would make things a lot easier.
But I wonder - can you get away with this, to reach solid quality for final mixing and mastering? Multiple outs, or multi tracking Overbridge style or whatnot - would you say it’s so essential for your process, you wouldn’t do without it? Settling for just the stereo signal from start to finish, is that an option if you’re gunning for mastering qualities?
Examples -
Digitakt > Gear for mastering the stereo output only = Final mix
Deluge > Gear for mastering the stereo output only = Final mix
Akai MPC One > Gear for mastering the stereo output only = Final mix
Bluebox > Gear for mastering the stereo output only = Final mix
Octatrack > Gear for mastering the stereo output only = Final mix
For me it’s no big deal, in the end everything I do is recorded in one take into a single stereo file. And the result is what it is.
However I often find myself changing audio routings, sometimes I have a bit of kit that runs into Rev Octatrack and sometimes Octatrack runs into some other things and I found that plugging and unplugging all the time was seriously time consuming and irritating. So I bought a small stereo patchbay. More specifically this:
It’s been really good for my workflow basically everything with multiple 1/4 jacks are routed into this and my gear that only has 1/8 jacks (opz, blackbox etc.) are routed via the patchbay itself (in the top)
It’s been great for fully utilizing the inputs and outputs of pulsar23 and Octatrack I can very easily Re route stuff…
I can get over it by myself but often I need gear that can help keep a drummer working with me in time. Having an out that I can send to them without sacrificing left and right is a dream, and if there’s no gear on the table with at least a left and right then there’s trouble
I have yet to have a decent sounding space where my gears can permanently live; and have to take the multitracks elsewhere to mix if I want any kind of chance of sounding decent. (not interested in headphone mixing for reasons). So id rather avoid relying on stereo files.
One of the reasons I’ve always preferred minimal amounts of hardware - things are a lot more comfortable and manageble in small spaces.
I dont use overbridge. I dont see the need. Never have. Pretty much everything I do the last few years is just stereo mix. Either recorded direct from the mixer, or out my Octatrack.
Playing live same thing. I have gear with multiple outs… dont use em!
I do have a 10 input audio interface if I want to multi track record. But I prefer to record just a straight stereo mix as described. It suits my brain. Less computer fuckery the better.
So no, not having multiple outs is not a deal breaker for me.
What I’d also like to mention:
Overdubs. You only can do so much with two hands live. If you want to record a stereo take, don’t restrict yourself to the first Version of it.
What I’d give up if I went down this route -
Multiple outs from my 1010 Blackbox, into the SSL SiX.
To replace with -
A more coherent kit for the first draft stereo mix. I’m considering an Analog Rytm, or the Deluge (which I already own), or something along those lines, instead. A kit that manages entirely on its own, which in my case the Blackbox doesn’t because while it’s fantastic for your samples, it’s not much use as a source for original content. And I’m looking for both in one box, and then consider the result a complete draft on its own and just process it from there into master. I don’t mind to slap on multiple kits along the output chain to master, but I do mind this swapping and switching of kits just to write the song itself.
And there a few kits pieces out there that are self contained in that respect, and I’m considering such options now, for convenience and for trying something new.
I’ve been in an out of various set ups, and finally settled on just recording the stereo outs of my Rytm, sampling my other gear into it but not controlling it live. (P12, Yamaha CP)
There’s more than enough to get the sounds I need.
As someone earlier said, recording all the outs is good for future proofing, so I wanna get into the habit of doing that, in case I do a good jam but just wanna tweak a little bit here and there, or do a better mix.
The Rytm sounds HUGE on a big system with subs, and I’ve started recording while listening on a system like that, which inevitably means on smaller systems some of the low mid isn’t coming across, so having the stems recorded for mixing afterwards is pretty necessary… im yet to bother mixing them though, mainly because all the panning is lost in the stems and i just wanna make more tunes.
Anyway yeah, multiple outputs for mixing later but trying to make it sound as good as possible as a stereo mix at the same time seems to work.
The Rytm is doing the majority of things here apart from the loud squeals and the odd snare sound, just stereo out into a desk and then we recorded the LR of the desk. Pretty close to a good sound I think
I hated, that the Blofeld comes with only one out. With my Virus TI2, that replaced my Blofeld and comes with 3 stereo outs, I only use 1 all the times. Why? Because the Effects don’t suck and I am able to have nice sounding Reverbs AND Synced Delays on one sound, while using something completely different on a different one, while that was not possible on the Blofeld without external FX units. I also route Mono-Synths through the INPUT of the Virus, to use the FX for them too
On Topic: I spent much time and money into choosing Hardware, that let me record every track on its own (Overbridge, One-Output-Per-Track, Multitrack-Soundcard with ADAT Extension etc.) and all I do all the time, is record the Stereo-Out to my Tascam Fieldrecorder
Well, I spent way too much time of my life, searching for Devices with Song-Mode and complained about it missing on way to much hardware to arrive at a point, where I never use it on the current hardware
I usually only use stereo outs during the creative sessions and coming up with ideas, all DAWless. This is for my own protection because otherwise I will immediately start mixing and playing with efx and so on within the DAW. Once I have a nice tune ready to go I switch to Overbridge and record every track separately and also use the DAW EFX most of the time. That also gives me the possibility to switch a sound later, like I used a BD that I did not like anymore when I mixed a song so I exchanged it or used different EQ settings which would be impossible with a stereo mix.
I am still making sure thought that I finish a mix within a short time so I can move on. I am still on my one song a month schedule except February because February sucked
If you are handling your own mix through the whole process, the end result is going to be a stereo file regardless of how one gets to that point.
As for my process, I recently added a mixer to my modest studio. I record to a Tascam DP. I have the busses routed to the 8 ins. Usually I will send everything to the same bus for the composition stage. If I can’t make a mix sit well on the single bus then I start breaking things up as much or as little as I need. As of late I have mostly defaulted to a stereo recording. Even if I do break it up it will rarely be more than 8 tracks and sometimes I will record the stereo from that to cassette and back if I want that vibe.
The main benefit I see to using just the stereo track is that you have to commit to sounds and levels and live with the result. This may mean a less than “perfect” mix but the trade off is a finished piece in a timely manner.
I never realized how nice multiple outs were until I sat down with the MPC Live and SiX. Got a 8 channel snake cable. 6 outs and 1 return from alt or bus b for sampling from six. Loving it!
If only my DN had them, earmuffs on the DNK.
Definitely not a show stopper not having them but so fun and convenient when you do.
This thread is dangerous for me, haha. I love these topics though, they really bring out lots of great conversation and ideas about setup. I’ve had similar thoughts from time to time as I often find that with most of my main pieces of gear, I can end up with a single stereo pair, which sort of makes me feel like the SiX is overkill. However, as we have stated, the SiX is great to work with and there are other ways I could route my signals to take up more channels on it. On the other hand, in that seemingly neverending quest for the right-sized streamlined setup, I wonder IF I could sort out a more direct chain of stereo signals. 500-series comes to mind, with a small lunchbox of Elysia. Things to consider.
So I’m gonna be a little bold here and try something different -
With the firmware update to Digitakt, and the stuff I’m hearing from it now, I’m thinking it’ll be worth a shot to see if I can get it to master quality. Or rather, a final outpout quality that I’m just happy with, call it master or not. Prophet 12 goes into Digitakt’s (now) stereo inputs, and through the Digitakt’s (now existing master chain. Digitakt sequences Prophet 12.
I play and record the Prophet 12 from the Extra Deluge MFG keyboard, since I don’t much like the Takt’s way to punch in midi notes.
And that’s it.
What I won’t be using now, that I’ve used extensively for awhile, is -
The SSL SiX
Any of the Chase Bliss stuff
the Blackbox
the Deluge
Honestly the most fin Ive had with a set up is when i use a dedicated Elektron box + 1 synth. It’s a great combo because you can really focus on that one synth.
