arv_foh
Brian K
I usually only get a tiny bit of bleed in the guitar mics from cymbals, really not as much as you'd expect considering they are right next to the drums.
Another job offer: Recording a live show
- Thread starter ::XeS::
- Start date
I usually only get a tiny bit of bleed in the guitar mics from cymbals, really not as much as you'd expect considering they are right next to the drums.
acappa
Alex Cappa TMF Studios
My advice:
Drums: 8 mikes (bd,sn, 4xtoms, 2xoh) if the band only have 3 toms, you can also mike HH or ride/china (to me less OH mikes, less problems, the crowd noise getting into the Oh is unbearable)
Guitars and bass (guitar L mike, guitar R mike, DI L, DI R, Bass DI (line out of the amp or DI)
Vocals: 2 mikes, if there are more backing vocals you´re fucked up.
Crowd: Omni mike
In all, 16 channels, I used to use 8 from saffire 56, and 8 plus from Octopre.
Also I replace the original HD of my laptop to a 320 gb/7200 rpm no problems with dropouts and shit. I set also the fireware latency long, and 2048 samples buffer size.
Hope it helps!
Drums: 8 mikes (bd,sn, 4xtoms, 2xoh) if the band only have 3 toms, you can also mike HH or ride/china (to me less OH mikes, less problems, the crowd noise getting into the Oh is unbearable)
Guitars and bass (guitar L mike, guitar R mike, DI L, DI R, Bass DI (line out of the amp or DI)
Vocals: 2 mikes, if there are more backing vocals you´re fucked up.
Crowd: Omni mike
In all, 16 channels, I used to use 8 from saffire 56, and 8 plus from Octopre.
Also I replace the original HD of my laptop to a 320 gb/7200 rpm no problems with dropouts and shit. I set also the fireware latency long, and 2048 samples buffer size.
Hope it helps!
-Noodles-
3 Initals Mixer
- Dec 20, 2007
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- 0
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I've recently done a full show (2 bands, nearly 3 hours of material) and it's what (live recording) I seem to do most of these days.
My set up was;
Digidesign 002R + Octopre LE (giving 16/18 ins)
Logic 8
Macbook Pro 2.5Ghz
External FW800 drive.
Ran continuously with no issues (yet!)..
The tracks I had to record amounted to near 20, so I submixed on a smaller desk, and routed via L/R + aux outputs. Worked fine.
The mics / track sheet;
Kick - Audix d6
Snare - SM57
Hats - Nt5
OH L - AT2020
OH R- AT2020
Gtr - sm57
Bass - DI
Percussion - 3x 57s (submixed to a stereo pair)
Brass - 2x 57s (i think)
4x Vox - 58s (two were submixed to mono - only backing / annoucements)
Keys - 2x DIs (mono)
I had a split from the stage, so it was pre-everything, and I just monitored the input gains through the show - but had no issues with distortion.
No crowd mics as it was a really small venue and the front 4 vocals captured that pretty well. (saved on channels too).
I'm currently struggling with what to charge because they want to get the masters - but it was my work, so I don't really know what to charge. I struggle with charging, and when I use the spreadsheet (i forget who put that up - sorry!) it comes out to be over £600. Just for a live recording. (including setup, equipment hire, equipment degradation, mixing and editing time..)
My set up was;
Digidesign 002R + Octopre LE (giving 16/18 ins)
Logic 8
Macbook Pro 2.5Ghz
External FW800 drive.
Ran continuously with no issues (yet!)..
The tracks I had to record amounted to near 20, so I submixed on a smaller desk, and routed via L/R + aux outputs. Worked fine.
The mics / track sheet;
Kick - Audix d6
Snare - SM57
Hats - Nt5
OH L - AT2020
OH R- AT2020
Gtr - sm57
Bass - DI
Percussion - 3x 57s (submixed to a stereo pair)
Brass - 2x 57s (i think)
4x Vox - 58s (two were submixed to mono - only backing / annoucements)
Keys - 2x DIs (mono)
I had a split from the stage, so it was pre-everything, and I just monitored the input gains through the show - but had no issues with distortion.
No crowd mics as it was a really small venue and the front 4 vocals captured that pretty well. (saved on channels too).
I'm currently struggling with what to charge because they want to get the masters - but it was my work, so I don't really know what to charge. I struggle with charging, and when I use the spreadsheet (i forget who put that up - sorry!) it comes out to be over £600. Just for a live recording. (including setup, equipment hire, equipment degradation, mixing and editing time..)
pro tools on your internal, system drive... all projects/sessions, not just the bounces, but the sessions and all recordings for them, should be on a different drive... external or internal, doesn't matter as long as it's at least 7200rmp and is NOT your system drive.
J.DavisNJ
\m/
I wouldn't completely rely on direct outs and the insert points.
Some desks direct outs are post fader/EQ, meaning that any eqing for the show and any fader movements will be recorded- It's like this on the desk in the club I'm in so when we record a gig we usually split them before it hits the mic pres on the desk.
Also the insert point trick mightn't be completey available to you if the sound engineer is using them- he's hardly going to give up gating and comping his tracks so you can record it, his job is to make the band sound good not facilitate you.
Some desks direct outs are post fader/EQ, meaning that any eqing for the show and any fader movements will be recorded- It's like this on the desk in the club I'm in so when we record a gig we usually split them before it hits the mic pres on the desk.
Also the insert point trick mightn't be completey available to you if the sound engineer is using them- he's hardly going to give up gating and comping his tracks so you can record it, his job is to make the band sound good not facilitate you.
Yeah but I'll use what it's available...it's not a studio recording and I've not all those splitter to let me do what you usually do.
I wanna also ask what desk there will be so I can study a little all the options
I wanna also ask what desk there will be so I can study a little all the options
AerialThesis
@ KMR Studios
Anyway, on those cases, the main problem if you're not the sound guy is that you wanna do your work without bother the other guys...so I'm thinking about how I can do my recordings.
I know also that this venue has a stage desk (probably for monitors) and the traditional desk.
I know also that this venue has a stage desk (probably for monitors) and the traditional desk.
arv_foh
Brian K
BOOYAH split out from the monitor desk... hopefully it has split XLR outs like my desk does... and if it doesn't you could totally do the insert point trick with the MONS desk.
Which is the chain signal with a monitor desk? I mean, where do the mics are connected first? At the mons desk or at the main desk? Or every mic is splitted so the same signal can go on each desk? Or the mons desk gets the signal sent from the main desk?
arv_foh
Brian K
Typically there is a split snake and one end goes to FOH and the other goes to MONS.
Mikaël-ange
Member
- Nov 7, 2008
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AHAHH...I've just knew there will be a woman FOH on this venue. She has 40 years and she sucks so much (last time I saw a show there, the kick mic was 10cm from the hole...) and everybody hate her because she gets angry with you only if you ask to raise something in your monitor (she usually stay in the monitor mixer).
Of course, I was thinkin' to work on the monitor mixer to record but if only a simple ask is a tragedy, I can't immagine if I have to connect all my gear, cables, DI boxes,etc....
Of course, I was thinkin' to work on the monitor mixer to record but if only a simple ask is a tragedy, I can't immagine if I have to connect all my gear, cables, DI boxes,etc....
Yesterday I went to the gig I had to record. I spoke to the FOH man and I said him "Hi, I've to record the first band...where can I connect my stuff?" and he said "I can give you a L and R signal"...and me "What? Don't you have sends or outputs?" and he "No..and the stage mixer too. If you have all the splitters you can use them...".........I checked a little the board and it was a Yamaha
So I didn't record a single note. I will try to record that band the next show they will do.
p.s.
The FOH man sucked very much...Don't know why with the 90% of the FOH guys I heard we can't hear the toms........very bad.
So I didn't record a single note. I will try to record that band the next show they will do.
p.s.
The FOH man sucked very much...Don't know why with the 90% of the FOH guys I heard we can't hear the toms........very bad.
Mikaël-ange
Member
- Nov 7, 2008
- 2,368
- 1
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Yesterday I went to the gig I had to record. I spoke to the FOH man and I said him "Hi, I've to record the first band...where can I connect my stuff?" and he said "I can give you a L and R signal"...and me "What? Don't you have sends or outputs?" and he "No..and the stage mixer too. If you have all the splitters you can use them...".........I checked a little the board and it was a Yamaha
So I didn't record a single note. I will try to record that band the next show they will do.
p.s.
The FOH man sucked very much...Don't know why with the 90% of the FOH guys I heard we can't hear the toms........very bad.
Really strange Michele because you can have direct out with LS9
But it's more common to hit DTD recorder with that...Conclusion: your FOH E is an incompetent
Mikaël-ange
Member
- Nov 7, 2008
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I immediately got it
Anyway it's a M7CL and there were no output on the back
I stoped FOH job couple of years ago...
You can record with M7CL via Madi btw (of course you need Madi converter like RME Madi/SSL alphalink...etc). Once again, your FOH E is an incompetent
Yeah, I noticed some ports in the back...I checked if there was some kind of adat out (because it should be the only way to let me record something..) but I found nothing usefull
