Relatively new to remote work: advice need from the pros.

[rich robinson]

I don't wanna make this a generic "what gear shall I buy next?" thread but I do have some questions for the seasoned remoters on the approach/equipment used for live recordings.

I landed a pretty exciting job that entails going along to festivals & tours to record live shows, which are then sold on USB wristbands as merchandise. Sometimes the files are duplicated on site for sale straight after the show. Sometimes we take the recordings away to be mass produced and sold at later shows, which gives us the option to mix in a quiet post-show environment. It's a new idea & the company I work for is still in R&D when it comes to the gear we use and the approach taken to live recordings.

Essentially, all I'm doing is taking a feed of the L&R from the FOH, then adding in a couple of my own ambient mics. Very basic stuff. I record using a Digi 002 and use the delay plugs to align the two stereo signals. This is usually pretty reasonable, but as you guys must know, sometimes it's a bit nasty because the FOH guy is mixing for the crowd... not me! FOH & monitor engineers have no time for guys like me asking to alter levels & such. It can get very frustrating because I'm caught between the engineers working with the band (not me) and the people who pay me to get usable material.

I've just come back from a short tour of Ireland where I had three nights to record the same band. The recordings will be mixed and duplicated on USB keyrings for sale on their next tour.

The first night I did the basic 4-track recording as we were short of time.

I decided to try working with the FOH engineer to sub-mix the band, as I had 8 line inputs on my 002.

The next night I tried the following: stereo drums, stereo backline, bass, vocals, stereo ambience.

I learned that aux mixes are tricky and can often catch you out when the FOH mix can be a lot closer to what you want.

For the final show I tried a L&R from FOH, stereo ambience but with additional kick, snare, and backline channels just in case they were being mixed lower than ideal on the FOH board.

I was wondering if you guys has any comments on these different approaches?



Also, I would also like to recommend to my bosses that we should provide a multitrack service for certain shows that can be be mixed after the event.

I was thinking along the lines of Y-cables, a HD24, 3x 8 channel mic pres, plus maybe a way of outputting digitally from the HD24 to the laptop incase a caddy goes down. I think Presonus make a 3x ADAT to firewire unit? A self sufficient 24 track recording system would be great but it seems that the setup can get become overkill quite quickly. I often have to travel alone on planes & taxis to get on site. One requirement would be that it must be able to be transported by one person between taxis, planes and even the tube. I can handle a sports bag & a 2U rack no probs. I think two 4U racks would be the absolute limit. Even that may be too much. A way of being independent of a band's FOH/monitor engineer would be a real bonus.

I'd love to hear from you guys as the methods we use can be pretty... well, not great!

Cheers,

Rich

[Enginearing]

Hire an SC48 - Digidesign's new small venue console. plug in your computer, softpatch to 18 protools inputs (direct or busses)

[Corran]

The simplest 24-track system that I've been able to devise is the HD24 (XR preferably) with 3 Studio Projects SP828 8-channel preamps chained together (or 3 ATI 8mx2 8-channel preamps in the same config if you've got the money). TRS outputs directly to the HD24. Monitor off the preamp's on-board mixer (no EQ though). This would entail at least two 4 space racks though. I use an 8-space with wheels which personally I like.

For laptop mixes, get either the M-audio Lightbridge or the Presonus equivalent (I'm using the M-audio here) and if your laptop doesn't have FW built in get a TI-chipset firewire ExpressCard.

That should do you for a 24-track system, as compact as I think is possible, with backup.

You could also get some 8-channel preamps with ADAT output and not have to have 24 TRS cables. That might be a little better.

[talbe1019]

Hey Rich...is the company Aderra?