To Me, Not To You

Another rehearsal with the Samanas, another 10GB of recording.
If you're looking at an email or something in an RSS reader right now you probably won't see the following link to the "album". So go ahead, click on through to the other side. Here are my notes.
The Scarlett's very hot input level makes recording with outboard preamps very difficult. The Neves have to be turned way the heck down in order to not overload the Scarlett's inputs.
I did a three-microphone tree for the drums. Over the span of less than a foot I had a pair of Oktava mics in X/Y on the outside and the AKG C12A on the inside. This did not really work because of phasing issues. So I pulled the tracks with the Oktavas back in time just a tiny bit which eliminated the phasing issues. But I think that next time I will use them more as a spaced pair.

I'd put the M-Audio 2626 in my rack here in the studio and I've really liked having big and straightforward knobs to grab and change volume with. The MOTU Ultralite is not that easy to do that with as it's hard to see what knob you're touching without putting some light on it. That being said, the metering is a tad more apparent on the MOTU. But I think the 2626 has to go into the remote recording rack in order to be fed by the Neve preamps.
The trick is that the 2626 is only firewire. And if I want to use my laptop I have to go USB.
So what I can do is go from the 2626 into the Scarlett via Lightpipe. But at 96kHz I can only get 4 channels out of the 2626 via Lightpipe. The remainder would have to go via the two available channels or S/PDIF or analog inputs of the Scarlett (which are still a pain because of their high input levels.)
But what I've considered briefly is the notion that Tyrannosaurus Mouse simply does a weekly rental at the same studio that City Samanas uses and we keep a computer with a Firewire port at the studio. Along with the rack and such. The cost is $120 a month.
Interesting.
Not to you, of course, but to me.