TDM recording in a Live Venue

[Josh Brown]

Hi all, long time reader first time poster. I've done a search on this, but have not found exactly what I am looking for, so here's my question: Does anyone have any advice on using a TDM rig to record sound in a live venue? To explain, I'm going to be embarking on a tour of the country with my Pro Tools rig, and will be expected to record and mix all of the shows. Obviously I'm not going to want the EQs, gates, etc. going to tape, and I'm not sure what kind of gear each venue has. Line out or pre-fader send? Are there any pitfalls that I should specifically look out for while recording in live venues? Does anyone have any advice that I should apply to avoid future headaches?

Thank you in advance, and thanks for all the great posts flying around here!

Josh

[Andre Knecht]

[...] I'm going to be embarking on a tour of the country with my Pro Tools rig, and will be expected to record and mix all of the shows. Obviously I'm not going to want the EQs, gates, etc. going to tape, ...

Tape?

Create a “Plug-ins (Unused)” folder, and drag your plugs in there when you track. Keep a good limiter to strap across your monitoring output pair. Aside from eliminating potential conflicts and freeing up RAM, you’ll also gain valuable time when launching PT.

...and I'm not sure what kind of gear each venue has. Line out or pre-fader send?

The big question indeed. Actually, the best way to record is to employ a transformer-isolated mic splitter. Pros: FOH, Monitor and Recording rigs only share mics (and DIs). After that, each system is completely separated from the others. Cons: it adds complexity and expense (i.e. the recording rig must have its own mic pres.)

If the splitter is not an option, then you're at the complete mercy of whomever is doing sound there (not to mention venue policies).

Depending on the quality (and condition) of each board, a line out is bound to sound slightly better than a send. However, if the line out is post fader, you'd be better off tapping a pre fader send otherwise you'll be chasing the FOH engineer's every move when it's time to mix. If the channel line outs are pre-fader, you're only going to have to chase console pre-amp gain changes. It’s still a pain, but if the FOH engineer is good, these should be set for good by the time the third song starts. Of course everything changes on stage (as well as off-stage) during a show, so there are bound to be adjustments along the way.

Are there any pitfalls that I should specifically look out for while recording in live venues? Does anyone have any advice that I should apply to avoid future headaches?

Here are a few things I've learned along the way...

A) Do as much advance work as possible. If you’re lucky, the act has a tour manager. Work with that person before you get on the road. Don’t expect anything to be done. Ask.

B) Make lists of everything. Make lists of lists. Gear, routines, names, contact info, etc. Use them.

1) Have spares for as many things as possible. Redundancy is the ultimate life-saver on the road.

2) Get a UPS.

3) Make sure your gear is well protected and insured. (It cannot be safe enough.)

4) Have flashlights, batteries (of all kinds), cable testers, adapters, tools, gaffer tape, locks, working gloves, comfy and practical clothes (and especially shoes), an emergency kit, etc.

5) Make sure everything you bring is labeled as clearly as possible. Post-show tear-down is always the most chaotic time and people in a hurry tend to toss anything they get their hands on into their cases and worry about it later.

6) Bring plenty of drives and backup ASAP after a recording (i.e before tearing things down.) If there’s a break during the show, use that time to backup.

7) If you and your rig are going to be setup inside the venue, get some comfortable in-ear monitors, and a set of ear protectors (the ones used on a gun range). You will need as much acoustic isolation from what’s going on around you to be able to assess what you’re being fed, and react if necessary. Not to mention that your ears will be grateful as well. (You’ll need those again to mix.)

8) Develop a set of visual communication rules with the act.

8) Keep drinks on the floor, not on your rack.

9) Take notes as each show progresses. You’ll be glad you did.


I could go on for days, but here’s the most important suggestion I have for you:

10) Read every post in every thread on the “Remote Possibilities” forum found at “www.gearslutz.com"

I hope this helps - good luck!
And by all means, have some fun.

[crizdee]

Hi,

Andre has given some fantastic advise and tips! i'll give one more that i learnt very quickly.

Always set the input level as low as possible! as musicians will always always play harder as the night goes! and often some huge peaks at random! and there's nothing you can do for an over loaded distorted signal!!

Chris

[Josh Brown]

Wow! Thanks Andre and Crizdee. I will let you know how things go when all is said and done.

Thanks again!

Josh