Hey guys. Thanks for the response on the last post. I hope you guys are enjoying.
Here is video 2. I had some problems last night.. but as I say… we learn more from mistakes most of the time… I learned a LOT!
Check it out
[youtube]myx6nSZ9phI[/youtube]
Kev,
Very interesting.. enjoyed the video. WOW, BNC cableing can hold so much, I had no idea. Thanks for the insite. Grow the hair long again.. lol… Kim said she misses the longer hair.. Guess I’ve got her spoiled. lol
Chris
Hey Kevin!
Sorry to hear you have had so tough night. I am sure you will sort it out. From my side i only can recommend Metric Halo boxes for similar gigs in the future. They have their own recording panel and you don’t have to mess with a DAW. Take care man, i am sure you will pull it off just fine!
Thanks Bartosz. I used to have a metric halo and sold it. With PT opening up the hardware possibilities, I may have to get another one.
What exactly are you using.
Kevin
Kevin,
I use Metric Halo 2882 and mainly work with Logic, i didn’t record a lot of shows with that setup (i recall ONE) as i do mostly studio work, now steering heavily on to the music composition / film post production direction. I heard a lot of folks at the metric halo list using the MH console to get the recordings. Of course you do not have the ability to make live mixes and auxes this way. But for getting the raw tracks, it works very reliably!
Hey Kevin. Man that sounds like a job! Hope it goes better tonight. Just wondering why you were trying to do a rough mix. Seems like the most important thing would be to just get the tracks down.
Paul
I wish you good luck with the recordings that’s coming, may they be no less than perfect! 🙂
Very very neat stuff, I do a lot of live audio also so it’s neat to see your equipment.
Also glad to see i’m not the only one that has a qlich here and there, but I know you’ll get it all work out just fine.
Thanks for the info!
Kevin thanks for keeping it real. Enjoy the real world examples of having problems and finding solutions. Keep us posted on the outcome.
Philip Sapp
Will do. I’m trying to get home now. I may do a live q&a. Would you guys like?
This is good stuff very timely for me. Can you go in to how you are capturing audience? What mics, placement, how many etc,
thanks bro keep it comin
Sure. I was using some stereo shotgun mics from audio technica. First night they were close to the speakers (too close in my opinion). I noticed too that the audience was not “in yo face” enough, so nights 2 and 3, I put them closer to the front row looking out. Also, this mic has 3 patterns. Wide, narrow, and Mid-side. I used wide the first night and narrow fir the other 2. Was happier with that.
Also an nights 2/3, I added some cardioid AT4051 about halfway back to get more individual voices.
Audience is key!
Hey Kevin,
Just wanted to let you know I enjoyed the videos. Keep em coming! Looks like you need a camera guy!…hint hint..
Hope tonite turns out great.
Tommy
Impressive! I never knew BNC coax was used for digital audio — I remember using that for token ring LANs in the early 90s! MADI sounds like an ideal choice for getting sound across large concert halls since it’s supposed to handle distances up to 2000 meters, and you don’t run into the noise or attenuation issues that happen with long runs of analog audio.
It was nice. Tony told me that you can run that MADI for up to 2 miles. Crazy!
Thanks for the great info, regarding microphones and setups. I choose my not so heavy intense studio over live recording, because live is about all the beauty of the moment, and when something is lost that is lost, as far as recording glicthes. Not to mention, that in the studio everything can be reproduced, but often that perfect performance can’t either.
I love the balance of doing both. There’s this adrenaline rush of knowing that everything could be TOAST with a few wrong moves. Probably why I like flying occasionally too. Lol
Thank you for the updates and videos. I’ve done a lot of live recordings and it’s always cool to see how someone else approaches the process. You are truly working with a great bunch of guys. I am looking forward to seeing how the next concert goes!
Tell us some of what you do Mark…. 🙂
Kevin,
PLEASE stop moving the camera man, I’m getting sea-sick bro!!!
Dean
Hi Kevin,
Let me first say that I have appreciated and enjoyed you work for years. You are truly one of our industries masters. Thank you for this awesome resource called Mix Coach. Although I opened Harvest Gospel Studio in February of 1981, my 30+ years of engineering experience constantly remind me that the more I learn about our craft, the more I want to learn. I will be back in the studio this morning mixing a project and I will be applying some of the tips and tricks I have learned from your book, Pro Tools 9 – The Mixer’s Toolkit, and from this website. How cool is that!
I have a few comments on the topic of LIVE recording. Practically all of the live recording work I do does not span multiple concerts like the project you just completed. Most of the time we just get one take. Over the years, after what must have been thousands of computer crashes in the studio and after dealing with all the tiny technical problems associated with DAW based recording platforms (that sometimes creep up out of nowhere), I have developed an inherent distrust of using that format alone for live concert recording. When I do use a DAW, I always back it up with a second system – typically a couple Alesis HD-24 recorders. A few weeks ago while tracking a live video for the Primitive Quartet, the Nuendo system at the church developed issues and the HD-24 back up I ran basically saved the project. Another thing I like to do when I can is record the afternoon rehearsal sessions. I call this my “insurance tracks.” If there should be some technical glitch or if there should be a big mistake during the concert, those tracks sure can come in handy!
I recently bought 2 Audio Technica 4071L shotgun mics to use in live situations. Last week I mixed a project that included those two mics and several AKG 414’s in the room as well. The 414’s had a lot of sound system bleed but the 4071L’s had almost none. The difference in the mics was far greater than I expected. I was impressed!
Thanks Mark for you comment. You do GREAT work! I probably should have had some “insurance” media too, but I knew that we were recording several concerts and the rental of all this equipment was becoming pretty expensive.
I’d love to read/hear/watch some of what you may have learned from MixCoach.
Let’s chat soon Mark.
Kevin
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