Advice on providing audio for film, please SC48

[The Bagwhan]

Hi everyone, we've got an unusual situation where we're going to be asked to provide a multi-track feed to some kind of recording medium from an SC48 during a music festival. It's so the audio files can later be synced and mixed with video for a promotional DVD.
The thing is, we don't want to be responsible in any way to get these recordings achieved- or at least our effort needs to be kept to an absolute minimum so it doesn't impact on our role of live mixing. Can anybody suggest the best means we can simply feed a multi-track stream to the video people from an SC48 and pretty much say, "Here's your audio, the rest is up to you".
Obviously we can't be completely uninvolved, but I guess another way of putting it is; we don't want our audio engineer having to worry about any aspect of this audio feed. A kind of set-and-forget setup, if that makes sense. How these video guys are going to store 36 hours of multi-track recordings is another problem! But theirs... Thanks for any help.
BTW, the video people are only keen amateurs and can't provide answers themselves.

[Roland Clarke]

Obviously you are limited to 32 tracks (providing you have the right software versions) on a Pro Tools system. That would be the obvious answer assuming that you have that facility and it's reliable. You could also provide a two track mix from one of the PQ's, possibly with a little compression to even out the mix or even setting up the PQ mix from the groups to rebalance against the requirement for FOH if that mix is likely to be vocal heavy, etc.

Alternatively, the other option would be to have a split from the multi to a series of mic amps and either a computer based recording system of something like the Alesis HD24 (providing 24 channels cover it all). To be friendly you could also put up a couple of audience microphones and feed those only to the recording system.

I would advise that you discuss this with your client and see what level of involvement they want from you, ultimately if it requires another person to be present to deal with it from your side, you probably need to charge for it. You can bet that being amateurs, if it doesn't work out, they will likely try and blame you so I would look to cover myself.

[The Bagwhan]

Cheers Roland, I understand what you're saying... and that basically doing it properly via PT is really the only option. I was hoping the SC48 might provide an easier option, but I guess we need to educate the video people and come to some arrangement. Thanks!

[Brent Lind]

Unless I'm missing something, all you need is a 3-way split (preferably active). Hand them 48 XLR tails and tell them good luck. As you said the tracking methods are their issue. This is how festivals are usually handled. A good mobile setup will often put their pre's right there in monitor world and simply run Madi to the truck.

[Roland Clarke]

Originally Posted by Brent Lind

Unless I'm missing something, all you need is a 3-way split (preferably active). Hand them 48 XLR tails and tell them good luck. As you said the tracking methods are their issue. This is how festivals are usually handled. A good mobile setup will often put their pre's right there in monitor world and simply run Madi to the truck.

Ah, but this is "amateur night", so a truck, madi, remote pre's are likely out. They are probably hoping that the FOH wil track it all for them and hand them the files, which of course they will mix like experts and bathe in the glory and accolades!

Unfortunately now the gear can do all this extra stuff like virtual soundcheck and Pro Tools sessions, clients think that they have a right to this stuff without any consideration that extra work and equipment is needed, let alone the time to transfer files to a client drive so they can take it away with them.

It happened with the advant of surround sound with classical sessions, suddenly, several companies started demanding both a stereo version and a surround version from recording and editing sessions, but they didn't want to pay any additional fees.

[Greg C]

+1 Roland. It's a huge PITA to have to be responsible for multi-tracking a show on the fly. I had to do it a couple of months ago when the performers didn't give me a clear input list or heads up for guest performers that needed extra inputs suddenly. So I had to scramble to patch more channels to ProTool in the Patchbay tab and the beginning of a several tunes were chopped as a result for those inputs. Along with making the patch, you also have to arm the tracks in PT for recording - something that needs to be done well in advance of bodies hitting the stage. Very frustrating when you're also trying to mix.

[Brent Lind]

Fair enough. As Greg pointed out, trying to manage the FWx tracking whilst mixing 6 million bands in a festival environment is going to be a bit ridiculous. IMHO, your best option is to offer them a nice 2-track recording with some compression and audience mics, or tell them they can't afford what they want.

Remember if you bend over backwards to give them what they can't afford, they'll always expect it in the future...

[RobMacki]

Originally Posted by The Bagwhan

Hi everyone, we've got an unusual situation where we're going to be asked to provide a multi-track feed to some kind of recording medium from an SC48 during a music festival. It's so the audio files can later be synced and mixed with video for a promotional DVD.

Is the SC48 yours, provided, or rented?

PT is the only logical solution IMHO.

Not sure if your festival already happened or not. But it sounds like you have gotten solid advice from some seasoned veterans. If this is a 'first rodeo' for anyone doing this, keep in mind festivals are very fast pace and you need to be on your 'A-game' for 18+hrs straight. I would not want to do this with a rented SC48.

Do you need to provide house mics? There is two-four more tracks in PT.
Do you need to record a ref mix? Another two tracks.
Will there be a dedicated MC track?
Will FOH be using a 'festival input list for the entire festival'?

Festivals can be nightmares. I have worked a large scale annual 3 day festival for 8ys as a 2nd/tech & tape op, and as the PT multi track op for the past 5yrs.

I would not want to do what you are suggesting with an SC48 unless you know your input list will in no way go over 32ch including everything mentioned above.

I'd want to go with Profile & HD rig. or Mult out at monitor world and let them do it themselves.
Either way someone will have to monitor PT (or other) and set up sessions etc.

my .02