Out of interest, I’m wondering how people like to work in terms of tracking external sound sources (MIDI synths/drum machine/modules etc.) into a DAW.
My own usual approach, is to take mono or stereo signals into my DAW from my studio.
However, I’m starting to wonder if it’s worth considering partially using a rack-mount line mixer and once the arrangements are mostly in place, tracking each sound source separately into my DAW.
There’s also the similar issue of individually tracking drums/percussion individually from my drum machines, for individual eq-ing etc.
What’s triggered this, mulling ideas, is that I’ve recently re-discovered my Novation Drumstation. To take each individual sound into my DAW, would potentially mean using more inputs than I have left. Similar issue with my Tempest.
So, like I say - what are people’s preferred ways of working and maybe there are some tricks I may have missed?
This is one line-mixer unit I’m considering. Maybe even a couple of them?
Hi
Maybe not so much of interest to you…
I use 4 Volcas (Kick, Bass, Keys and FM) as well as DT.
All 4 Volcas are routed through inputs on my MOTU UltraLite Mk3 then routed to my MODEL1 through D-Sub. This way I can still use channels 1, 2, 3 and 4 RCA inputs if need be.
DT goes in channel 5 directly.
Maschine output (through MOTU main output) to channel 6.
I was tempted, at first, to have the 4 Volcas going through an analog mixer (Mackie 1204 vlz) but the processing of the Volcas through CueMix in MOTU appears to be very sweet (Compressor very usable). As well as that, having all 4 Volcas summed through the Mackie mixer did not appeal to me and my workflow.
V
Of course it is worth considering. IMHO it’s a matter of sound quality vs. price. Each additional new analog piece introduced into your audio chain will degrade/modify the original signal. But if it’s worth the price to use a dedicated converter for each input is completely up to you.
I have 3 RME Multifaces, which gives me 24 Analogue input channels. That might sound like plenty, but let’s say I take 6 inputs from my Tempest, for one example, I can soon run out.
That’s why I’m considering patch panel(s) or a line mixer for some of the stereo sources - e.g. keyboards. Get the arranging done, then track each instrument into my system separately.
If you want to only mix in the box, I can talk from my experience with 4 MOTU 24I/O to get all inputs and outputs of my studio. It seems overkill, but in fact regarding the price, not that much, and I can’t see how else such a set up could be achieved. In fact it is very comfortable, especially with sound processors. No more cabling/patchbay mess, instruments / effects presets in the DAW and recallable - sort of - projects/songs.
But now I left this workflow because it was too much comfortable for me so I even more than before never finished anything. But I’m pretty sure some people could be able to handle this and enjoy the comfort this bring.
Yeah, I’m using a similar setup but with an older Saffire model. With the extra inputs chained it drops the max sample rate to 48k but it’s worth it. Works well for me.
I’m quite tempted by the Tascam Model 24 though, would be nice to have hands on mixing and record without the computer at all.
I had thought about ADAT connections from extra I/O to my Multifaces, but limiting the sample rate is a concern. I don’t normally tend to go higher than 48KHz though.
The other mechanism I have, which kind-of works, is to use my live digital desk - A&H QU24 alongside my RME Multifaces. It’s not ever-so straight forward though. The desk is fixed at 48KHz for a start, which means I need a sample rate converter to use the digital output to work with other rates. I have started experimenting with the USB connection, but that method isn’t working solidly with Ableton and Cubase. USB also adds latency and takes bandwidth from my other USB devices.
At least with a partial analogue mixing solution, there’s no sample-rate conversion and latency to worry about.
I had a mackie 1642 vlz4 in the chain to mix some stuff before going into my rme fireface. But after some recording tests I droped it out of the chain and bought a ferrorfish pulse 16 converter oh happy boy! That are high quality converters and not that expensiv
Something you might consider, the Soundcraft 12/22 MTK is a fine unit and doubles as a 12/22 track audio interface over usb. I use it for some of my outboard synths. If you are using macOS, you can even make one aggregate device from the Soundcraft and your audio interface.
Also an option would be the Behringer ADA8200 8 channel adat converter, if your interface has an adat input. Quality is amazing and costs only 150€ for 8 channels.
Combined I now have 32 inputs (12 from my RME 802, 8 through the ADA8200 connected to the RME and 12 through the MTK), I haven’t experienced any dropouts or whatsoever.
I have an Antelope Orion 32 HD, with 32 in/outs using d-sub connectors on the card itself… pretty neat and if you have a few drum machines those extras are needed! However, since i got Overbridge working for my Analog Rytm mk2, i don´t need that many channels anymore since i stream them to BitWig via USB.
Anyway, before i realized i didn´t need that many channels, i also bought a Ferrofish A16 mk2, which gave me 16 extra in/outs via MADI - so 48 in/outs was the final result - very nice to have!
The A16 i got at a discount or used, i don´t remember, but half the price as a new one though…
This setup is awesome if many channels are needed, though the Antelope was a bit pricey at around €2800. If i were to do the same thing again today, i would try to find some other interface as the “brain” and not the Antelope - perhaps a RME Digiface or Madiface USB, and two Ferrofish A16 or possibly A32 interfaces to boot…
