jens wrote: Fri Aug 25, 2023 10:03 pmNope lad, of course not.jamcat wrote: Fri Aug 25, 2023 8:06 pm Each drum mic gets a channel, which means a Tape Machine instance for each, because that’s how you would record drums.
At least not for the bulk of the analog decades - they comitted lad, they commited.
(i.e. Only because they used (say) ten mics that did not at all mean they neccessarily recorded these onto ten tape tracks lad - after all that's what mixing desks are for, you see?)
Still in the 70's they typically mixed it down to four to six tracks (so before that they never used more than max three tracks) - but personally I'm always using the Decades SDX and Al Schmitt to his last working day mixed drums down to something like three tracks... )
and especially since I of course have SD's built-in mixer to adjust levels, I'm perfectly fine with stereo. So it's one instance of the 24 and I'm golden.
The blueprint that I go by is how it was done in the '80s and early '90s, which would see individual drum channels to their own tape tracks. Toms might be panned and recorded on a single stereo pair rather than individually, and hi-hats might not have their own mic, but you're still going to have separate tracks for kick and snare, and stereo pairs for toms, overheads and perhaps the room. So you're still at easily 7 or 8 tracks for drums. I do a close mic on hats and ride as well.
Drums weren't regularly recorded with the Glyn Johns method or as a stereo (or mono) submix since 24-track recording went into wide use, which was by the mid '70s.
