When someone like Andy records live gigs

if6was9

if6was9

Ireland
Jun 13, 2007
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lreland
Just wondering when someone like Andy Sneap gets to mix live gigs like the megadeth stuff and the Arch enemy stuff what kind of a say does he get in the recording process.

Like does he get any input on mic choice/placement? does he get to ask for Di's or would he just find out after its recorded that they took some or not?
Does he get to choose what kind of a rig it gets recorded with?

I've started recording gigs in a local venue and I'm using the direct outs for stuff like guitars, kick and vocals and then micing the rest myself- but the desks direct outs are post eq/fader and sometimes I've been getting nasty as fuck clipping from when the channels clipped before it hits my recorder.
I was in the middle of mixing some live stuff and stuck on the AE ep " Dead Eyes See No Future" and can't get over how class it sounds for live- makes me wonder how much say Andy gets in it all
 
I think when live gigs get recorded common sense get used and they take DI's and shit and are more careful with gain.
At least I figure that's how it's done at professional level.
 
TheXRatedDodo said:
I think when live gigs get recorded common sense get used and they take DI's and shit and are more careful with gain.
At least I figure that's how it's done at professional level.
Click to expand...

ha, I wish...

I just had to mix the Live DVD for a Band recorded at the biggest Metalfestival.
I had to tell them to track DI and the tracks I got to mix were painfully distorted. bass didn't have any high freq at all (they used the direct out of a badly set up amp), DI of guitars sounded like they had a metalzone before the DI box (no use for reamping at all).

I think you'll have to do it yourself if you wanna have decen quality...perhaps I just had bad luck, but one should think that these bigger companies know better
 
Problem is...bigger companies think they know better than you do. I've gotten in several arguments with meathead live sound guys who swear I don't know what I'm talking about, and then reccomend asinine shit. They have thier own agenda: you are better off setting up all your own stuff. Sure, it contributes to clutter onstage but it will get you the results you need.
 
Executioner213 said:
Problem is...bigger companies think they know better than you do. I've gotten in several arguments with meathead live sound guys who swear I don't know what I'm talking about, and then reccomend asinine shit. They have thier own agenda: you are better off setting up all your own stuff. Sure, it contributes to clutter onstage but it will get you the results you need.
Click to expand...

+1 100%.

I cant stand having to argue with techs or engineers that think they know exactly whats going on but really have no idea.
 
For big live recording gigs usually the signals coming from the stage are split (one set going to the FOH guy and the other to the recording truck). All mic placement decisions are usually done by the crew doing sound. At least that's been my experience.
 
srsly lasse?
fuck.

actually, it kind of doesnt surprise me. all the guys that did for sound for my band were a bunch of cunts one way or another.
The best sound guy was the one that turned up an hour and a half late and didn't bring mic stands for cab micing and then threaded SM58's between the head and the cab and dangled them over the speakers..
The rest of them have just been assholes haha, no offence to ANYONE on this forum who does live sound or anything. Sneap Forumites are kinda, another breed of person y'know? ;]
 
Lasse Lammert said:
ha, I wish...

I just had to mix the Live DVD for a Band recorded at the biggest Metalfestival.
I had to tell them to track DI and the tracks I got to mix were painfully distorted. bass didn't have any high freq at all (they used the direct out of a badly set up amp), DI of guitars sounded like they had a metalzone before the DI box (no use for reamping at all).

I think you'll have to do it yourself if you wanna have decen quality...perhaps I just had bad luck, but one should think that these bigger companies know better
Click to expand...

What ever happened to our shitty DVD?



Napalm were cocks... we had another pro filmed gig, great performance, pyro and awesome sound (Metal camp) with a great crowd and the company filmed it for free...

But Steindl decided to tell the company to delete it and chose Wacken, a shit gig, shit performance, shit on stage sound, shit recordings and nothing good about the show...


Why?

Because it was WACKEN.


Record labels piss away money on stupid shit and then say it's the band's fault they're n debt..

Same with a 4k€ photoshoot to do 1 hour of photos and hve them photoshopped to hell and back anyway...
 
-Gavin- said:
What ever happened to our shitty DVD?



Napalm were cocks... we had another pro filmed gig, great performance, pyro and awesome sound (Metal camp) with a great crowd and the company filmed it for free...

But Steindl decided to tell the company to delete it and chose Wacken, a shit gig, shit performance, shit on stage sound, shit recordings and nothing good about the show...


Why?

Because it was WACKEN.


Record labels piss away money on stupid shit and then say it's the band's fault they're n debt..

Same with a 4k€ photoshoot to do 1 hour of photos and hve them photoshopped to hell and back anyway...
Click to expand...

But dude it was genious when someone threw a plastic sword at you and then you picked it up and used as a guitar pick. I was laughed so hard after the gig :kickass:
 
I remember reading that in an arch enemy interview, some of the leads may be from the real takes i'd guess, but the rhythms, give me a break, and the drums are triggered anyway.
 
I don't see how triggered drums would make a difference to whether it was done at the gig or in the studio.....

considering how many bands trigger up for the live sound anyway thats the last thing that bothers me

in all honesty id rather hear something rerecorded in the studio if it means it will be better than not doing it - there is too much shit that goes on that we don't even know about that can determine what ends up on the live CD's/DVD's.
 
Well my point was that the drums are not real, which ever way you look at it. Compare it to say Rainbow live in Munich, that's the sound of Cozy Powell REALLY playing a drum kit.

The guitars are far too clean sounding on the Arch Enemy to have been recorded live, baring in mind that 'live' sounds are usually COMPLETELY different from studio sounds, what sounds good through your amp in a live enviroment very rarely works in the studio.

Tho I agree with your last point.
 
Oh god, not again with the "triggered drums aren't real" nonsense - go read this thread (starting on page 5), it's all been covered (very entertainingly, I might add)
 
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