Documenting your work

[pbansen]

If this has been discussed previously, I'll beg your forgiveness in advance (although I've searched it and came up with nothing), but I'm interested in how (or maybe whether) people document their recording projects.

In the interest of figuring out what worked or what didn't and not repeating my mistakes, I try to document what mic I used on each input, what it was assigned to, how it was positioned and the gain setting. This is for recording using a Mackie Onyx board and Firewire out to a laptop - a more complex chain would require more information.

Is this something you experienced folks bother with or is it something that might only be worthwhile for those of us with fewer slides in our slide trays? If you do write things down, any tips on how you capture what you need to remember later?

Thanks!

Pete Bansen
Truckee, California

[Remoteness]

I do so much intelligence gathering on my gigs that I would have been a secret agent if I didn't like the live music business so much.

The documentation of my work and everything else about the date from travel to our provisions are all essential elements in the pursuit of the perfect location production present and future.

All sorts of information is compiled for (what I call) our “location file.”
Audio related information is just one part of our location file.

It starts with pre-production; All vital information from my talks with the band’s management, producer, venue and other production folk is collected and assembled with everyone's needs addressed in advance.

Whether the location scout is done in person or via other means photos and video is captured along with stage plots, input lists, song lists, track & take sheets. If applicable, information about all wireless (RF) frequencies used on the production is a very important part of this process. You don't need any train wrecks during the production.

I like to make a location profile of the venue, hotel, food spots, fun spots, electronic/media stores, travel info, directions et cetera, etc. I amass all kinds of information that will help the production and our crew’s spirits.

Parking & vehicle permits, available power sources and the details of our ESU are also key components. Cable lengths and where to run power, audio, video, communication and such is also documented in our “location file.”

In the interest of producing the perfect location production I like to make notes on what worked and what didn't work for future productions at that specific location. I also create an engineering discrepancy report for any equipment or interfacing problems. This report is then addressed in the shop.

This is how Aura-Sonic Ltd and I do it. I know a lot of folks that don’t bother with any of this stuff. All I know is that following an accurate map will keep you on point especially when things go haywire.

[LX3]

I try to write the essential info on the tracksheet. At least what mic was used on each channel, maybe some indication of how it was positioned if it's out of the ordinary. I made myself a traditional, old-school type track sheet, with big squares for each track, so I can get quite a bit on there.

I also have a circle in each square to mark the preamp gain position, and little check boxes for phase, phantom, HPF...

Having a clear piece of paper indicating what's where is very reassuring to mixers who are accustomed to being presented with a disc and told to mix a bunch of audio with filenames "Track_01, Track_02, Track_03..." !!

How much notice they take of the additional info depends on the engineer though. Some mixers don't care if two mics are in ORTF... some don't even seem to know what ORTF means... But the info is there if they want it.

I'll also take photos of anything especially interesting - mainly for my own purposes.

It does depend to some degree on time though... additional details on the track sheet tend to get entered as and when I get 30 seconds to do it. Sometimes it's so full-on right up to show-time things I'd like to do don't get done. How many times have I driven away from a gig thinking "Why on earth didn't I take a photo of that?"

[pbansen]

Great information - thanks to both of you!

Pete Bansen
Truckee, California

[Remoteness]

We also have made recall sheet for nearly every piece of gear we have in stock.

One of these days I shall make them available through my Website.

[David Spearritt]

On every gig, I take accurate tape measured positions of instrumental music stands, artists locations, piano feet, mic stands, distances from stage edge and centreline to all of these, heights of all mics. Plus all the electronic metadata as well, as noted above. Because a lot of times I get asked for subsequent sessions where we have to edit between the different sessions. As these can be months apart, one needs comprehensive accurate measurements.

I am lusting after a Leica laser disto meter, and will get one soon, for speedier results. In the mentime its still trying to get a steel tape up 5m in the air to confirm a mic height, without it collapsing in a noisy crash on my head.

Another advantage, is when I get a really great recording, I can see why its great and do it again.

[Remoteness]

That's a great idea. Very strong!

Those Leica DISTO meters look mighty awesome.

I have the cheap Black & Decker version, but rarely use it Ii'm afraid.

[t_chance]

my tracking sheet