RevelationIn the mixer, you don’t have a choice to pick one output for the kick drum in, kick drum out, snare etc. Is that because they used two microphones on everything?
In Cubase under the VST instruments- outputs all the outputs are in Mono. So I have to create two tracks in Cubase for kick in, two for kick out, etc.
JohnHi,
I do recommend reading the manual and checking out videos at the Toontrack YouTube channel.
No, direct microphones on e.g. Snare and Kick are single mono microphones.
Overheads and Room microphones are in general stereo.
A mono microphone will have a single pan fader in the mixer while stereo microphones will have two.
Due to technical reasons, for flexibility and not restricting the plugin to a specific library and its microphone setup, the plugin has got 16 Stereo Outputs (there is a special option for Cubase users in the Settings to force all to Mono: Settings>Advanced), which can be freely routed to in the mixer.
In the mixer you can also use Busses for sub-grouping and FX. Busses are stereo.
If you use the Cubase mono all outputs option, you can route e.g. a Kick microphone directly to an output.
Me, being a Pro Tools user, I would route the Kick microphone to Output 1/2 and pan the microphone to the Left to get it on Output 1. In Pro Tools I would create a Mono Aux with the split SD3 plugin Output 1.L as Input.
I guess you should be able to do a reversed manoeuvre in Cubase with getting a Stereo Track from 2 mono plugin outputs.
Hopefully, some Cubase wizards can chime in.
BR,
John
John Rammelt - Toontrack
Technical Advisor
RevelationAs long as I know there is only single channels on the kick in, kick out, etc.;……in Cubase, I will just assign channel 1 to kick in, channel 3 to kick out and skip all the even numbers on the mix channels in Superior. I hope you follow my logic.
Bear-Faced CowHonestly, that sounds more like the old BFD way of doing things. I found it was more of a necessity in BFD to separate the outputs and process in that way, because of their recording. However, I find I don’t need to do that with SD. The way everything is recorded combined with SD’s effects, these days, I can get away with just routing every kit piece to individual buses and either output from there to the DAW, or export them as audio drum stems. Before, I found myself having to work with 40 or so drum tracks. Now, I can work with just 16 or less with no less in quality.
jord
RevelationBear Faced, I will also have to try it your away also to see how that goes. But with having a Mackie controller and Expander, I can adjust the levels of the drums with faders instead of a mouse. In addition, I get to use the UAD API effects which are great on drums.
Bear-Faced CowI’ve had a Mackie controller for almost 15 years. I known what it’s like to put my fingers to faders since the late 70s. However, we are only talking about setting the drum levels to their individual bus outputs once. So, it is not such a big deal what you use to adjust it with. You can use your controller to adjust the levels of the bus outputs once they hit your DAW. From there, you can use whatever plug-ins you choose. The only reason I needed to use UAD plug-ins extensively on BFD was mainly due to the fact that their libraries were recorded so bombastically loud that in many cases it sounded a lot like noise. Many of their room ambience channels we’re totally unusable to the point where I had to bring in the Ocean Way plug-in to rescue it along with having to shape the individual kit pieces. This is no longer the case with Superior Drummer’s core library. I think I’ve said many times on their Facebook page that the drums sound as if the sound is flying out of the drums. This to me means being able to use plug-ins where I want them, and not because I have to use them, or feel that I have to use them. I do resort to using some UAD plug-ins at the end, such as a Fairchild 670 and the Studer A800. However, like I said a different thread, the plug-ins in Superior Drummer stand very well on their own merits.
Don’t get me wrong. I’m not telling you how to do things, as there’s no right way of doing things. Every drum mix is about as individual as the engineer behind it. I’m just saying from experience from being a 13 year BFD user, that we don’t have to do things the way we did in the past.
jord
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