Recording Live Music PDF
Recording Live Music PDF
Recording Live Music PDF
for musicians and enthusiasts to produce recordings at home that would have been impossible – without
significant monetary investment – just decades ago. Of course, having access to equipment does not equate
to having the savvy, experience, and acoustic space necessary to record a great product, but the barrier
to entry to record demos and even release-worthy home recordings has been significantly lowered by
continuing improvements in technology.
High-tech recording equipment is smaller, more powerful, and more portable than ever. Combined with the
increased use of digital consoles in live music venues, opportunities to record remotely at a live venue or
non-studio space are plentiful. It is theoretically possible to arrive at a gig with a thumb drive and leave with a
pristine stereo recording of your performance.
Let’s qualify that last sentence. Note it says, “theoretically possible.” While technology has made it much
easier to record remotely, there are many things you’ll need to do, and expertise you’ll likely need to rely on,
if you’re looking to produce a quality live recording – particularly if you’re looking to record for release.
The answers to all of these questions will lead to others, and the purpose of this document is
to help answer some of those questions and help you plot a course to produce the best live
recording possible within your means.
To that end, we’ve enlisted the help of two Philadelphia-area music industry
veterans to contribute their thoughts and expertise to this guide:
If you are looking for something very basic, it with room mics (provided by you), which offers
something to use as a tool to analyze your material, more post-performance mixing options. In some
performance, arrangements, or the general state cases, when you combine the direct mix from the
of your live show – what Raison refers to as a front-of-house console with a pair of well-placed
“snapshot” recording – then a bare-bones recording microphones, you can end up with a great sounding
with a portable device is an easy solution that
finished product.
could involve minimal interaction with the live
sound engineer.
And it’s not just these portable recording devices
Zoom, TASCAM, Olympus, and other manufacturers that have gone digital: many live music venues are
make extremely portable and affordable hand-held investing in digital consoles, and almost all of these
digital recorders with built-in microphones. You can have a jump drive (thumb drive, USB drive) or
simply put one on a tall mic stand, place it near accessible port so you can plug in a USB thumb drive
the mixing area (where it usually sounds the best), or a hard drive and capture whatever the mixing
and collect a functional stereo recording. Note board is putting out as a stereo feed.
the tall mic stand: the higher up you can get your
recording device, the less chance you have of
capturing the vocalizations of the drunk patron Will this board mix be good enough to release?
who thinks he knows your set. These are also Maybe. Many variables will determine whether such a
excellent devices to record rehearsals or song recording will be suitable for distribution – including
ideas when developing material. the complexity of your act and sound of the room
– but with practice and a little luck, and particularly
But these digital devices can do more than just when you provide yourself some control over the
record via their built-in microphones. With the mix after the show, your chances of coming away
cabling options provided, you can often plug into a with a releasable recording improves. But these
venue’s console (with the cooperation of the live basic recording techniques are designed more for
sound engineer), and get a stereo feed of the mix. the snapshot recording concept, and recording for a
With 4-channel versions of the same devices, you release is likely going to take a bit more work pre-
can get a stereo feed from the board and combine show, during the show, and in the mixing process.
“If you’re a singer/songwriter, and you’re in a venue Adams adds that, “At the Tin Angel [a 115-seat
with a small digital console,” says Raison, “you can ask venue in Philadelphia], we purchased a Reflex tower
the sound engineer to pan your acoustic guitar hard CD burner a couple of years ago, which provides
left and your voice to the right, and you essentially another way bands can make money. Essentially what
walk away with I do is take the
a multi-track board mix and
If you can pan the mix hard right and hard
recording. The duplicate it so
instruments left, with your instrument in one channel fans can leave
are discreet, so and voice in the other, you are essentially that night with
you have the creating a multi-track recording that you’ll the recording of
ability to dump the show they
have some control over after the show.
that stereo just went to. So
track into we offer that to
your editing system – which could be your DAW, or everyone who comes to play the Tin Angel, and we
GarageBand, or even your phone! You can take that charge a small fee for the CDs, and the bands can
stereo file and split it to two mono files, and that charge more and make a profit.
gives you the guitar and the vocal discreet from each
other. It’s a simple way to leave with a multi-track
“You do have to be open as an artist, because you’re
recording that you have control over after the show.
dealing with whatever the board mix sounds like, and if
you screw up during your performance, that’s going to
“If you have a four-channel device and can add in be on the CD. So you have to be able to get past the
additional room mics, you can blend them in and get fact that it’s not going be perfect – and a lot of artists
a pretty fantastic final mix. You can record an entire won’t do it because they know that if they make a
set, and the next day you can dump it into your mistake during the performance, it’ll be out there.”
As Raison explains: “I have three inexpensive mic over the cymbals or over the drum kit – but with a
splitters, each one is eight channels, and that allows recording, it’s a requirement. So you can throw a mic
me to get 24 channels to a digital recording system. or a pair of mics overhead. A room microphone or
These splitters were reasonably priced, maybe $200- two also really helps shape the sound. Especially in a
300 each. With advance discussion with the house large venue with an excited audience.”
sound engineer, they’ll often let us split the stage
signals, which allows me to take a feed of every Of course, you’ll need to run cables for every mic,
microphone running from the stage. Plus, we can add have stands for every additional microphone you’re
our own microphones if we need them. providing, and have a way to plug all these inputs into
an interface for your laptop/DAW or have all-in-one
recording device on hand, which will add to your
“So if you want to make sure you’re picking up the expense, equipment needs, and set-up time before
tom toms discreetly, you can put your own mics on the show. Understand that you may need to collect
there. If the sound person doesn’t use overheads dozens of signals via microphone/instrument cable,
– in a small room, cymbals can be really really loud which means you’ll need to have the means to have
so they may not feel the need to put a microphone inputs and storage for all these signals.
Any time you are recording, and if you are expecting assistance
or the involvement of the live sound engineer, it is imperative
that you meet with him or her before the performance.
“Typically, when you’re advancing a live show,” says make sure they’re prepared, and let them know what
Adams, “you should be doing that two weeks out, just they need to bring. So the more advance notice you
to touch base with the venue and say, ‘This is what have, the better off you’ll be the day of show. Showing
I’m coming in with, this is the set up of my band.’ up the day of the show without any notice, if you plan
Usually you’ll send an input list or a stage plot and on doing a recording, can be pretty rude, and it will not
that’ll give us an idea of what we’re working with. get you the results you want.”
“If you’re planning to record, when you’re advancing “Having the necessary cabling to interface with the
the show, say, ‘Listen, we’re going to try and do a soundboard is critical,” confirms Raison, “whether it’s
live recording.’ You want to give whoever the house
digital or analog. And that’s all based on an advance
engineer is as much advance notice as you can.
meeting with the sound engineer. What kind of mixing
board do you have? What’s the best way for me to
If a band contacts me and says they’re going to do a interface? The old analog boards, many of them have
live recording, I’ll give them the options and say we direct outputs so you take channel one, which might
can give them a straight board mix right from the be the kick drum, and you can come out of that output
desk, or if they want to get the individual outputs, directly into your recording system. We work this way a
these are the outputs of my console, you’ll need lot, but you have to have the proper cables, because the
to bring in these specific cables. I’ll do my part to cabling will change from console to console.
“And that’s all based on an advance meeting with the that involving a professional, or at least someone
sound engineer. What kind of mixing board do you who can act as your recording engineer, will be
have? What’s the best way for me to interface? The necessary to provide the results you want.
old analog boards, many of them have direct outputs
so you take channel one, which might be the kick As Raison puts it: “You have to have someone to
drum, and you can come out of that output directly do the recording, whether it’s the sound board
into your recording system. We work this way a lot, operator or somebody that you bring with you. If
but you have to have the proper cables, because the it’s the sound board operator, you need to have that
cabling will change from console to console.” conversation up front, and make sure that they’re
on board and you’re going to get a great sounding
recording. They need to make certain the outputs
“And then there’s the issue of the room itself. Most of the mixing board are not clipping the recording
sound board mixing sites tend to be teeny tiny, and system, because if you record distortion, distortion
there’s not a lot of space to lay your stuff out. So if is on it for the rest of its existence. Whoever is
you have a laptop and a mic splitter and a this and a managing your recording needs to know something
that, you’ve got to have a place to put it.” about keeping the signal clean and not distorted.”
Understanding the details of the live sound set- Make no mistake, the sound engineer’s job is to get
up and the layout of the venue – including what the room mix right, and those requirements may
electrical outputs are available to you for your be quite different than what you need for your
recording gear – is an integral part of determining recording. Getting clean strong signals to your
what room you want to record in. What kind of recording device, and not having them clip, is of
board do they have? What will you need to provide the utmost importance.
to enable you to get the recording you’re looking
for? What will and won’t be mic’d? What kind of
It goes back to the fact that having access to the
cables will you need? Are you grabbing everything
equipment and knowing how to use it effectively are
from the board? Will you need a splitter? How early
two different things – and experience is a huge factor.
will the club allow you to arrive in advance of your
Bottom line, if you plan on doing a recording on your
show to set up?
own, whatever the intention of the final product, don’t
expect to deliver outstanding results the first time
As you get deeper into the notion of a live recording, you try. It may take a half dozen attempts before you
however involved the process, it may become clear achieve a recording that matches your expectations.
In practical terms, this could mean making sure mic And be especially particular when it comes to tuning
placements aren’t throwing off the drummer, or your instruments. Obviously, tuning your instruments
additional mics on stage aren’t getting in the way. is a prerequisite for every show, but you must be
Don’t agree to something that’s going to change sure every guitar, bass, violin, piano, etc. is carefully
your environment in a disruptive way, and don’t tuned prior to the gig when you’re recording. In fact,
decide to change up your arrangements or throw stringed instruments should be checked and tuned as
necessary, even between songs, and drummers should
last minute ideas into the performance when you’re
do their best to make sure the drums are all tuned
looking to record.
and sound good acoustically before the set begins.
Mixing a live recording requires a different approach to edit and mix that project, it became a real dance
than a studio recording because the environment is of automation, to get the cymbals and the vocals to
so different. The very nature of the live room means work well together. And there’s nothing you can do
you don’t have control over isolation – especially about that on a small stage – you’ve got to deal with
in a small venue. If you have a four-piece band – a what you’re dealing with for a live recording.”
thunderous bass amplifier, a rocking guitar amplifier,
and a bunch of drum and vocal microphones – even
Adams says “If they advance with me and say, ‘We
with discreet tracks from every instrument, you can
want to try and do a live CD,’ my typical reaction is,
experience a lot of bleeding from one instrument to
‘OK, you might want to try and bring in somebody
the next, or bass and other sounds coming through
who has the ability to multi-track and take each
the monitors, filtering into the other tracks.
microphone on a separate track and then mix it
down later.’ And that way you can go in and fix
“You sometimes have to treat a track to get what things if you want, though it’s a little more difficult
you want out of it,” says Raison. “On a big stage, in a to fix something that was recorded live. It’s not like
big venue, everything is very different. Everything is in a studio where you have isolated tracks. In a live
mic’d, instruments and amplifiers are far enough away setting you’re going to have things that bleed from
from each other that this isn’t much of an issue. In one mic to another.
small rooms, you have to deal with the situation. But
that’s half of the art and the creativity of mixing.
“So be prepared knowing you might not be able to
fix stuff later. But, if you have the multi-track, you’re
“I had a high-stakes live recording I did, and the able to mix more for the recording than for the
vocalist had a massive quantity of wedge monitors room. So in that aspect there are a few people who
around him cranked up to 11. But my biggest can come out to a venue and take a split where
problem was the crash cymbals being picked up by they’re recording each microphone to a separate
his vocal mic. Those cymbals are right at mouth level track and they’re able to mix it more for the the
and they’re loud, bright, brash, and shrill, and the recording, where I’m concentrating more on what’s
SM58 microphone picked it up. So when it came time going on in the room.”
We’ve steered clear of specific gear recommendations equipment and a crew in place, doing a recording,
and equipment lists, because just like in a home or a series of recordings, may be feasible and even
studio set-up, the formula you use to obtain your fairly simple; if you’re a basic acoustic act with
ideal recording environment is personal and diverse, minimal instrumentation and vocals, your options
and your remote solution will need to complement for recording can be relatively simple to achieve a
your existing home set-up. Just know that to achieve highly professional result.
your objective, you need to first define what your
objective is and then explore your options in regard
But similar to a home recording studio, producing
to venue and equipment to achieve the result
a high-end result for the majority of independent
you’re looking for.
acts will require a mix of the right equipment in
the hands of competent individuals who can set
And though ever more affordable, it can still cost up, capture, and mix a multi-track recording, while
a good deal of money to invest in a high-tech also providing the support to the venue and the
remote recording rig and achieve a high-quality, live, performers to make the event run smoothly and
multi-track recording of your act. If you have the keep the performers on their game.
Drew Raison’s career is founded on the music and production knowledge he’s lived for
the last 25 years. Concentrating on music production and mixing, Raison works directly with
entertainers and artists from a wide variety of genres, assisting them through the complex
world of professional entertainment. From his first studio stint at Queen Village Recording
Studio in Philadelphia, Raison produced sessions at Studio 4, The Warehouse, and Kajem/
Victory before opening Big Sky Audio, a major 4,000 square foot, multi-room recording
studio in the Philly suburbs. Raison’s latest endeavor, Philly Sound Studios, is a recording
studio/live performance venue, which also houses the South Philly School of Music and Arts.
Barbara Adams is the house engineer at the Tin Angel and also works as a sound engineer
at World Cafe Live! – both are landmark venues in Philadelphia, PA. Adams also occasionally
works as a freelance engineer/system tech for two production companies, and does freelance
work mixing FOH for regional bands touring the Northeast and Mid Atlantic states. Adams is
also owner and business manager of BurnDown Studios in Germantown, PA and an Adjunct
Professor of Sound Reinforcement at Drexel University and Rowan University.