Extracting left/right from stereo room/overhead mics to audio with BFD?

Okay, perhaps that was a little too long winded anyway. I just need to know what is the best way to separate the stereo room and overhead mic channels in BFD so the left and right sides have their own track.
 
Basically the stereo mic channels should, in theory, be like two recorded mics that have been blended. I want the two full mic inputs set to center without any crossover signal from one to the other.
 
Hmm... maybe if I use Channel Tools I can turn down one side then then use those spread controls to center the other.
 
hmm...

I bounce my stereo overheads to split mono creating two tracks. I leave the faders at zero and the panning straight up. Then I adjust the bounced tracks.

Barczar
I bounce my stereo overheads to split mono creating two tracks. I leave the faders at zero and the panning straight up. Then I adjust the bounced tracks.

Cool. Thanks.

Hi, bit. I'm glad you dropped by.
 
I'm not sure if there is indeed any sonic benefit to this but I would like to treat them as independent mics so I have the extra options. This is more of an educational experiment as I have some recordings I need to work on that were recorded in studio with live tracked drums. I want the BFD tracks to basically be as much like a live recorded drum kit so I can get my routing/mixing chops down before plowing into stuff I intend to release.
 
I could also see the benefit of being able to process the ride/floor tom side independently from the hi-hat/hi tom side if need be. Like say the cymbals on one side are overpowering the rest of that side's signal but I don't want any processing I do to affect the other side where that problem doesn't exist. I'm used to a very wide kit (metal stuff with lots of kit pieces as opposed to a smaller, more centered kit). The room mics I could see leaving alone but the overheads, in my mind, would/could be pretty different from each other. Technically this shouldn't be an issue while using BFD because there are so many options to fiddle with to avoid such things but as I will be dealing with many live tracks that may not have been recorded under such ideal circumstances just getting a feel for how all this type of thing would work I think it's a worthwhile exercise.
 
Basically I'm just attempting to learn using a more true to life example of things I'm more likely to encounter in the real world. Also it's been an interesting and educational experience just contemplating the processes involved in extracting audio from MIDI, MIDI from audio and all the crazy stuff that can be done along the way. I'll be trying out a ton of concepts I've learned this past year on this one project because although I may understand much of it I have actually never DONE any of it. It has almost all the elements I'll be dealing with except vocals but the lead guitar tracks will kind of take the place of the vocals in the mix and vocal processing doesn't really confuse me that much anyway.
 
Kind of like a self imposed final exam/review. I'll probably be a little more annoying than usually over the next couple weeks as I run into the inevitable roadblocks so I apologize to the forum in advance but I am quite happy I can FINALLY sit down and start working like this.
 
Cheers.
 
;-)

Also take into consideration if the samples themselves are stereo... Splitting or recording them to a mono track loses the stereo image of the drum piece...

I might opt to creating separate stereo tracks for each piece in separate passes from what I understand you're trying to do...

I typically opt to create a stereo tom track and stereo ride etc and work with them as I might in a typical live situation except realizing where stereo samples might require some exta thought...

I find that toms blend together well in re-creating a kit as do ride(s) and crashes.... I don't really need to record each piece separately... In the past I always wanted them discrete, but the option of returning to MIDI and correcting such made it a moot point...

I know you said that you don't want to return to MIDI to correct performance, but in this case it's returning to correct mix issues if/when they arise...

...jut a thought

Keni

Hi Beepster...
 
I get it... Funny, but it's been a long time since I did that kind of discrete tracking... Most of the stuff I do these days is track limited during basics recording (16 track) so decisions need to be made... I will typically opt to kick, snare, stereo toms, stereo cymbals, stereo OH taking 8 tracks and leaving 8 tracks for the remainder of 4 piece rhythm section and reference vocal....
 
I have on occasion done more discrete drum tracking with certain drummers or situations and i believe it's a good technique when the situation demands it...
 
Definitely a good thing to learn to deal with so I tip my hat to you for pushing yourself to adapt! ;-)
 
With each project the chosen method of recording  needs to suite the situation for sure! Have fun!
 
Keni