Hey guys,
I did some live recording of a german band called "Hans im Glück" (Hans in luck). Even if most of you won't understand the lyrics, perhaps you like the music
Here's the first part of the concert:
2nd Part:
Last edited by Gass n Klang; 04-19-2019 at 03:21 PM.
Did you record and mix it all by yourself, or did you have any help? Do you do it more often? Can you show/write something about how you recorded and mixed it?
I did the audio part by myself. I also did the FOH livemix, so recording it was no big deal.
I don't remember the exact equipment I used, but something like that:
FOH mixer was a Lawo mc36². Audio signals went via madi card to a Tascam Madi recorder and in addition as a backup to my laptop that was connected via a RME UFX+.
Microphones as far as I remember:
Kick (audix d6 I think, but the signal was totally replaced in the postpro)
Snares md421 top and km140 (i think) bottom
Hi tom Beyerdynamic Clip
Lo tom md421
Bongos MD441
HiHat km140
Overheads: U89
Bass: DI Out
Keys: DIs
sax and trumpets: dpa 4099
Lead Voc: beta 58
Backing voc: sm58
atmo: stereo AB km140 in the truss aiming towards the audience
so not a huge amount of channels. I mixed the whole concert in one reaper session, doing some automation on volume, EQ and FX. The keys signals have been split to many channels, so I got one sound on one channel to be more flexible. The trumpet played through some tc helicon fx in concert but we split the signal for the recording. So I just used the dry signal and used the fx track just as a guide.
I'm a so called professional (as I make my living from engineering and producing).
Did you just mix the FOH livemix with the Lawo console and external hardware to bypass latencies and then make a new mix for the video in Reaper with plugins? Were crosstalking a problem?
FOH and studio are totally different stories. Live I definitly need a console to be fast enough and to have access to all important parameters. An FOH Mix normally isn't that difficile as a studio postproduction. Besides you always mix for the room you hear the concert in. So you work much more detailed afterwards. That's why I did the postpro with dry signals.
Of course there is a lot of crosstalk. But crosstalk per se is nothing bad. It always depends on how crosstalk is sounding. You have to listen to the signals more often with all channels open because the sound of many signals depends on the sound of others... But if you set you're microphones right and keep some things in mind, it's no major problem afterwards.
Luckily we had in ear monitoring. With wedges you get many more problems in the postpro.