The DijonStock Digital Home Recording Support Forum

I am going to do a session this weekend for some friends of mine. - strictly recording, not a live gig - all accomplished players, so looking forward to good results.

3 piece - live from the floor -

I am debating on the 16 bit vs 24 bit question. There will not be a lot of post processing, so I lean towards the 16 bit/ 44.1 option. Any comment upon the other options ( 24/48) ??

I do not need to send signal to a PA, but may wish to send monitor signal to a headphone distributor, if the players want to go that route. At any rate , I will wear a headset to monitor the signal.

With 16 bit, the 2400 allows you to have going 12 inputs( I have a card for the extra four) and also monitor 12 assigned tracks of the recorded signal ( 12 + 12 = 24). The 24 bit option allows 12 tracks in total, so if you have 12 inputs going, you will have all 12 assigned tracks muted. They will record whilst muted, but you can't listen to them, from the track layer of the machine. So i guess the question is, do i have any other monitoring options. perhaps using the aux outs?? or can I patch and listen to the inputs, as they are recording to the tracks, rather than listening to the tracks themselves?

I myself don't mind the 16 bit option for ease of use, but one of the players is a bit of a recordist too, not as experienced as i am, but he works on his Mac in 24/44.1 and so may be suspect if i choose the 16 bit option. ( I could convince him otherwise, as he respects my abilities, but ... a happy musician makes for a better session, in my experience.

I know Andreas uses his machine as a live mixer and is ready to press the red button when needed, so perhaps he will wade in here. There is a user called Clipper who has done some live ensemble recording too.

If any of you have time to chip in a comment of any kind, please do.

By good luck it is a snow day in this part of the world, so I will be able to go down to my machine and muck about to clean it up and free some memory. i will be sure to post the results i get from this trio. The guitarist, you have heard on previous postings of mine. He is a young(ish), tastefully improvising/ noodling player. the drummer has a tight little jazz kit. He is a young, trained percussionist, with light hands and a good imagination. the bass player is an older guy , retired from a music educator career. He is very accomplished and has played with some famous players over the years. So, looking forward to the session - set up on saturday, - > red button on sunday afternoon.

I also would appreciate any advice on micing for the stand up bass. His is a fine instrument. He has a good, acoustic-bass dedicated amp, if wanted/needed, with a line out. the driver points at the floor, and you can control the angle. I have recorded this gear before in a big band setting, so am used this option. I am looking for advice on micing the acoustic instument itself. Stereo or mono?? where in relation to the bridge?? where in relation to the finger board?? distances ?? i have only done this a couple of times, and never in this type of session.

I will have some sort of stereo array back in the room to provide the foundation and then will spot mic to allow a mix build

All thoughts/ suggestions appreciated.

Byron

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Byron

I'm all for 24bit recording when all tracks are available. These new wave computing recorder enthusiasts have that luxury at the cost of gigabites. We, on the other hand have to give up inputs, tracks and valuable storage in order to utilize 24bit. While some swear by the higher resolution recording, most can not tell the difference. headroom schmedroom. I say record in 16bit, record at -12 to -6 tops and leave all that headroom for mixdown. That's just my personal opinion. As for the one person who's all up in to 24 bit, do a test run in 16 and dare him or her to point out the difference. Better yet, it's your toys, so you gotta do what works best for what you have. On other hand, if you feel comfortable getting enough inputs recorded with plenty of hard drive space, then go the 24bit route.

At the end of the day, it's your choice completely.

As for micing an upright bass, I always go with the pros:

Micing an upright bass 1

Micing an upright bass 2

Which ever way you go, have fun!

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Just saw a jools holland show where they had a fantastic sounding double bass & vocal duo. the bass. Was miced with what looked like a neuman um87 about 10 inches from mid way up the right sound hole. no drums to bleed. however, the Mic did catch all the cool finger noises, which is the essence of double bass

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Life's a shit sandwich. The more bread your have, the less shit you have to eat.

The more post processing, the more bits per sample you want. I'd definitely go for 24 bit if the number of tracks allowes.

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Don't judge the coffee by its cup.
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Way too technical for me, so I'll just say "have fun"! I know with your experience, Byron, it will turn out great.

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Ralph (aka The Head Hog)
"What's Time to a Hog?"
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Thanks gents. I read the links you sent Ron. Good advice.

Oscar - wish I had a Neuman!! I'll make do with the mics in my kit, as best I can.

ralph, thanks for the compliment - I'll be sure to post samples of what i get.

Anyone who has a 2400, please advise on the monitoring question, if you are able. I am going to muck about a bit. I'll post any aha moments that might occur.

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Byron

Hi Byron. I'm hardly the guy that you need to take advice from but maybe my creativity can do something here. Some time ago i fidled with the sends of my mixer in such a way that i could use all the preamps but i used each channel send to go to a separate input on the G. it takes some doing with the cables and jacks. I could monitor a complete mix on the mixer and still had every channel separate for recording. This may help you keeping 24 bit and monitor at the same time.

i have learned that keeping heaphones on while people are playing and moving mikes around while you listen helps to find sweet spots in a pragmatic kind of way. You could try that on the bass. With my guitar i have been moving the guitar in between my two rodes that were panned apart a bit. This allows me to listen to my own playing and listening to what the rodes pick up. Since i have been getting some good comments i guess this works for me.

Oh, you may need a extension lead for your headset

I'm sure you will do allright. Have fun.

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Nothing to add as I don`t have the AW2400, but look forward to listening to the results.

T.

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