Tips & Techniques:Recording and pre-mixing in the live room.
Recording and pre-mixing in the live-room.
I´ve got good results with this technique.. nothing new - quite old school, actually. Applies to all amplified pop/rock genres.
1. Place members of the performers in a circle or a halfmoon, and tell them to play their music. Organize the performers physically in the room based on your idea of how the pan settings in your mix will be - putting the bassplayer in the opposite of the drummer, usually is a good idea. This makes it easier to balance the mix, because these elements usually get centered in the conventional stereo mix.
2. When you stand in the center of this circle, try to pinpoint the naturally loudest soundsource - usually the drums, in pop/rock. Then balance the amplified instruments (also shape their tone) so you get a "natural" mix that sound great from your position.
3. Close mic all the amps, and mike the drums the way you use to. Handle annoying phase issues from your monitoring position (use headphones if your recording equipment is located in the live room). Experiment with ambience mikes - always put a mic at the position from where you balanced the instruments.
5. Mix! Pull upp the faders with the close-miked sounds, then gradually try to bring in the ambience mikes. Pan all faders according to the soundsources placement in the room. If your room sucks or you experience severe phasing issues, rely more on the closed-miked sounds - the spill from others instruments will create some ambience.
6. Print the mix, and sell your hit - you garage-punker, you!
..eventually this technique will make move from your control room, into the live room!
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|9th January 2008||#1|
Lives for gear
Joined: Aug 2006
Location: No longer participating here.
Even better, stand in there with a couple of shotgun mics and point 'em and pan 'em to the action like you were a spotlight operator in a theatre-in-the-round.
|9th January 2008||#2|
Lives for gear
Joined: Aug 2005
Obviously this "technique", or approach, isn´t suitable for everything, or everyone - neither does it stem from an elitistic view of some sort of "the true musical representation"-thinking. I just get good results from it, and thought it perhaps would inspire some..
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