Live Recording Setup

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DM60

DM60

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So, I am a big fan of live recordings. Some of the best bands sound better live than in the studio (Foghat comes to mind). With that said and to get out and mix a bit more, want to set up for live recording. Here is my thought for the approach:

Vocals off the board, Mic guitars (unless they are coming through the board as well). Here is where some assistance is required, for the drums, I was thinking, mic the kick, set something up for the toms (one mic for all) cymbals I will track with overheads and then a couple of room mics.

I don't want it to be too elaborate and anal, just enough to get decent tracking for a possible good mix.

Think that would work? Opinions count as well.

In case you are wondering, I am thinking of tracking with a Tascam 1800 for the inputs, decent laptop, Reaper. No processing, just tracking for later mixing.
 
It'd work as long as you're not trying for the fully produced-every-drum-separate sound. Indeed, in a pinch I've miked drums with just the kick, something on snare and the overheads for everything else. You might not need the toms.

For anything off the board, try to get direct outs or maybe pre fade auxes so level changes that happen live don't affect your recording. Or, maybe try using a splitter box or even "Y" cables.

Don't forget monitoring for yourself when recording...probably well isolated closed back headphones.
 
I was thinking the Toms a little closer as the tend not to be as loud, verses the snare.

Good idea on the outs so I am not tracking mixer changes. I didn't think about that and your inputs is why I asked.

Thanks for the inputs.
 
Atkron205 said:
These do work well. Does the board by chance have direct outs for each channel?
Click to expand...

I will be honest, I am just getting prepared to go out and do this, I don't anything in particular, just something I would like to start doing and seeing what I would need to go out and do this at a decent level.
 
oh, ok. the splitters boulder mentioned are a good idea. back in the day we used splitter snakes but it was the sound company's money, not mine. My board has direct outs for each channel but most do not. live recording is fun, a couple of crowd mics will work well too. Good luck! Thanks:thumbs up:
 
Some direct outs are post fader and eq while some are pre fader and eq. Even pre direct outs can be post HPF. Some are switchable via an external switch, some are switchable via an internal jumper. Even if you find that the board has direct outs you may not be able to confirm that they're pre everything, which is what you want.

The direct outs on my Soundcraft GB2R are selectable pre/post per channel by external switches.
 
Just for the record, that poor man's splitter snake (while a handy bit of kit) is a purely passive device (i.e. no transformers) so, electronically, it's exactly the same as an XLR "Y" cable. If money is really tight, you might consider just buying or making a few "Y" cables.

Passive splits aren't engineering "best practice" but, unless there's a problem with one of the bits of electronics you connect to the end (in this case a mixer and a Tascam 1800, you can generally get away with it. Yeah. We've all worked that way and just try not to admit it.
 
Does the mixer have inserts?
If so these are almost always pre "everything".

You will need to preserve the tip/ring link in the mixer but I suggest NOT making up special leads....

Instead build a breakout box full of TRS jacks. One set go to the desk inserts with standard "stereo" cables and link thru internally to a second set of sockets to feed the AI. The trick is you put the TS link in the tin. You can also wire the output jacks as "impedance" balanced. A resistor of about 120R from ring to sleeve per jack. Not perfect balance of course but might help with hum and can't hurt.

Probably cheaper or about the same overall as 3 XLRs and two bits of cable per feed?

If/when you become more advanced (with a full MADI rig!) you will still find a box of jacks very useful.

Dave.
 
From what you I am reading from you guys, sounds like the Y cables would be the best bet and probably the safest for all.

The insert path would probably be a good way to go, but I could see it having a high potential for "messing" something up on the live end.

Thanks all.
 
The Insert route, although commonly used, is post mic pre amp so any level changes made at that end of the live desk channel strips will show up on your recording.
 
Bobbsy said:
The Insert route, although commonly used, is post mic pre amp so any level changes made at that end of the live desk channel strips will show up on your recording.
Click to expand...

Hum, I would have thought it was post-gain, but pre-faders. So thanks for the information.

Either way, it still seems the Y's would be the best so that I could set the levels to what I require, and stay out of the mixer's way. If there are any issues, troubleshooting is simple, unplug the Y cable, check, replug. Cause you know, if anything is going wrong, they will first look at what I am doing as the cause of the issue. :eek:
 
DM60 said:
Hum, I would have thought it was post-gain, but pre-faders. So thanks for the information.
Click to expand...

That's what I was trying to get at but obviously not making myself clear--the gain knob at the top end of the channel strip is controlling the pre amp (hence the insert out being at line level) and, while not necessarily best practice, it's pretty common to have to tweak that gain during a live show to keep the faders in an easy range for working.

(As an aside, I once got into an argument on a live sound news group with several people who genuinely thought the best way to mix was to set all the faders at zero and control things with the gain trim knob. I guess they liked the straight line across the faders or something--but that's a different story.)

Anyhow, good luck with your recording. I've always enjoyed live working--more of an adrenalin rush than all the control you have in a studio.
 
Bobbsy said:
That's what I was trying to get at but obviously not making myself clear--the gain knob at the top end of the channel strip is controlling the pre amp (hence the insert out being at line level) and, while not necessarily best practice, it's pretty common to have to tweak that gain during a live show to keep the faders in an easy range for working.

(As an aside, I once got into an argument on a live sound news group with several people who genuinely thought the best way to mix was to set all the faders at zero and control things with the gain trim knob. I guess they liked the straight line across the faders or something--but that's a different story.)

Anyhow, good luck with your recording. I've always enjoyed live working--more of an adrenalin rush than all the control you have in a studio.
Click to expand...

I think it was more of my ignorance than you not being clear.

The lack of control of the environment and the one time shot on the recording is very much the allure. I think live recording has to be the ultimate challenge for recording and then mixing.

Thanks for the clarification.
 
Of course direct out would also be post at least mic amp gain.
Only way to go with no fiddling is splitting mics.

Dave.
 
ecc83 said:
Does the mixer have inserts?
If so these are almost always pre "everything".
Click to expand...

Inserts are typically post HPF and, of course, gain. XLR splitters are the only true "pre everything" option.
 
Knock knock knock...Dave?

Knock knock knock...Dave?

Knock knock knock...Dave?
 
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