The Roundhouse Tapes Album production

[whenharlequinsfall]

i was just wondering how much "touching up" was required after the event to ensure that the sound of the album was as good as possible. i have read many interviews with artists who say how hard it is not too edit and produce a live album too much, and too get the mixing just right. Where any parts re-recorded in a studio? how did you find the mixing process? and what do u think of the end result?

Cheers

 

[Shemsu'Hor]

You DO realize that the album hasn't been released yet...right?

 

[whenharlequinsfall]

yeah, of course, im not making any judgements, im just wondering how well he felt the process went.

 

[Shemsu'Hor]

Oh, so were you talking to Mike?

 

[KjeXXXer]

I'll bump this for you then, mate.

 

[Ermz]

The heavy set of Lamentations was processed to all hell. I assume it will be a similar kind of situation. You have the trade-off of having something sound 'raw' and shit, or 'processed' and actually coherent, like a studio release.

 

[whenharlequinsfall]

it should be interesting, i wonder how much the album sound will differ to the dvd sound

 

[Sheckles14]

Lamentations sounded good to me, but then again it was only coming out of my TV speakers. I don't own a sound system.

 

[prowlergrig]

it should be interesting, i wonder how much the album sound will differ to the dvd sound

seeing as it's the same show, it shouldn't differ at all

 

[soundave]

seeing as it's the same show, it shouldn't differ at all

Maybe, maybe not. Have you heard that Lamentations audio only thing? Horrible buzz throughout.

Once it's off the board and onto whatever medium they recorded on, they could absolutely treat them differently. At least the DVD will probably feature surround sound of some sort, and that will be different.

 

[Ermz]

Professionally-recorded gigs will use a transformer-based split box which will run all the mic and DI lines from the stage straight to the multitrack recorder, independently of the venue's desk. This gives the mixing engineer complete flexibility over whatever they wish to do, from drum replacement to re-amping the guitar & bass sounds (which was done on Lamentations).

 

[soundave]

Professionally-recorded gigs will use a transformer-based split box which will run all the mic and DI lines from the stage straight to the multitrack recorder, independently of the venue's desk. This gives the mixing engineer complete flexibility over whatever they wish to do, from drum replacement to re-amping the guitar & bass sounds (which was done on Lamentations).

I'd love to say that's what I meant. But I didn't. I've mixed some live recorded stuff, and so I knew that to be the case. It's a way smarter plan than being subjected to whatever the FOH mixer did to compensate for the venue's particular acoustic qualities. Thanks for clearing it up, Moonie. I was just being careless...

 

[roadtonowhere08]

I am looking more toward the DVD rather than the audio only release when talking about the sound, because in my experience, DVDs tend to be more left alone regarding compression. Home theaters demand dynamics, otherwise what's the point? If the DVD has a PCM 2.0 track, I would bet it sounds better than the CD release. If not, it would be a toss-up since the 5.1 will certainly be lossy DTS or Dolby but dynamic compared to the lossless CD with jacked up volume. I would love to be proven wrong on the volume point by the mixers/producers though