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Tell us your favorite place to setup your portable recording rig. Desktop Synthesizers
Old 13th October 2002
  #1
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Remoteness's Avatar
Talking Tell us your favorite place to setup your portable recording rig.

When I cannot get a totally isolated room or space for my recording rig, I like to setup next to the FOH position.

For me, it's the second best place to be. I rather deal with listening to the front of house mix, then the unbalanced backstage sounds. Man, it sucks when you're next to monitor world or other loud individual sound source. You never know what you got. At FOH, you got a better chance at knowing where you're at.

What do you think and why?
Old 13th October 2002
  #2
Gear Maniac
 

I found my new favorite place for my remote rig...

I was down doing a remote for a rock-jazz 3-piece at a youth/teen center type place that is city owned and is much nicer than your average youth hangout.

Got the gig earlier in the week and didn't have a free day to scope out the venue. Called and found out that there were a few small rooms behind/next to the stage that I could use...

Turns out there is a concessions stand / kitchen room that is not used all that often right behind the stage to the left. Little 10x10 room with enough room for my two racks and ADC monitor, along with a nice sized plexiglass window with a view of the stage!

Needless to say, this is my new place in my area to book bands do to lower budget live albums..
Old 13th October 2002
  #3
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Steve Smith's Avatar
 

Am am usually able to find a sep room ( or rent a truck...) but I have tracked albums while running FOH.. I just go into my pres first ( no eq) and then to the recorder in all input mode, and take the tape returns into any outboard comps/gates and then into the insert return on the the FOH console.. It is amazing how much better a PM 4000 sounds with Manley and Amek pres....
Old 14th October 2002
  #4
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I guess, once you got the right level to tape, you can record the soundcheck. When the band leaves, you can still mix your ass off until you got it right...

I usually do this when we need to supply a proper two mix to broacast, etc. It gives you an edge on the show mix.
Old 14th October 2002
  #5
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Steve Smith's Avatar
 

That is exactly what The FOH guy did on the last Clapton TOur.. recorded the inital rehersals, and then tweaked his " scene" automation when they went away.... he also kept the rec gear on the tour and tracked all the shows apparently.
Old 13th April 2003
  #6
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Remoteness's Avatar
Bump...

How many of you record at FOH? Or do you prefer off to the side on stage somewhere? Do you find enough empty rooms to set up in or is your vehicle your only nirvana?
Old 13th April 2003
  #7
Gear Maniac
 

this is the same kind of feedback I was looking to gather from the Remote Rack Design 101 thread...

If you are a business or a freelancer who also does remotes, you have a few options.

1) Build a self contained rack, something that has everything you need sans your input sources. Pop off the doors, plug in one or two power cables, connect your input lines, - and roll. Throw your rack doors back on at the end of the night, and bring the rig back to your mix/edit position. The drawback here is that you have an "all or nothing rig", taking a piece out to freelance or rent becomes a hassle.

2) Rack your gear components in a modular formation. By racking seperate components in individual racks, you can assemble whatever you need for your gig. This is a great solution for larger audio companies, since they can provide the gear needed for a gig - nothing more and nothing less. This also makes freelancing and rentals very convienent. The downside is that you now have a bit more work to do at the gig. Issues such as interfacing the seperate component racks arise, as well as working out a way to safely provide power to everything. In my experience, a modular rig usually includes bringing out a trunk of additional accesories.

3) Hire a truck, and have someone make you look smart.

This is clearly a prime example of the premise of there never being a best, only a best for you (or in this case, your gig/client).

It would be a great thing to get a bit more in depth on rack design and configuration. This is something that I think alot of people could benefit from, and with a little work could probbably help everyone save alittle time and money in the long run.

Studio only cats might benefit from some serious rack design theroy as well, I've seen a good number of studios that had to move location on short notice, and were frankly not prepared for doing such. Designing custom modular or self-contained rack solutions can save your ass in times like those, and even expand your possibilies for other business...

I'm feeling motivated to start designing a self contained rack that will house everything from the DAW/Monitor, power regulation, input stages, and headphone world. The plan is to document what my particular needs are for the example, and find the most cost efficient ways to make this idea a reality. I am certain that sitting down and working this out on paper will most likely institute to make equipment changes, as well as new ways of thinking...

If anyone is looking to build something of a similar nature, please chime in so we can take a crack at it. Being able to find a solution for someone else definatly comes in handy when you are going down that road yourself..

back to the drawing board...
Old 29th August 2007
  #8
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Remoteness's Avatar
Quote:
Originally Posted by Remoteness View Post
When I cannot get a totally isolated room or space for my recording rig, I like to setup next to the FOH position.

For me, it's the second best place to be. I rather deal with listening to the front of house mix, then the unbalanced backstage sounds. Man, it sucks when you're next to monitor world or other loud individual sound source. You never know what you got. At FOH, you got a better chance at knowing where you're at.

What do you think and why?
Five years and counting and I still rather do it this way than any other option.

How about you folks?
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Tell us your favorite place to setup your portable recording rig.-pvdrecordfoh.jpg   Tell us your favorite place to setup your portable recording rig.-pvdfoh.jpg   Tell us your favorite place to setup your portable recording rig.-pvdrecordfohrig.jpg   Tell us your favorite place to setup your portable recording rig.-pvdrecordfohgear.jpg  
Old 31st August 2007
  #9
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mrsteaks's Avatar
 

Out Of Sight, LOL!

I almost always do classical or jazz gigs, so being hidden from the audience can be rather important. Normally, I set up where I can get some isolation from the performance. It is rare, too, when there is a PA, but if there is, I'll set up near the FOH position so I can get a feed (maybe) or give them one (maybe!).
Old 31st August 2007
  #10
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RawDepth's Avatar
 

The best live tracks I've gotten were when the band was outdoors and I was well away from the stage. (Like backstage in a trailer.) I just used a long isolated splitter snake off of monitor world.

It was a larger stage with no sidefills, so mic bleed was minimal. Sweet!


RD
Old 31st August 2007
  #11
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Don S's Avatar
 

Quote:
Originally Posted by Remoteness View Post
Bump...

How many of you record at FOH? Or do you prefer off to the side on stage somewhere? Do you find enough empty rooms to set up in or is your vehicle your only nirvana?
If it's a new band and room, definately! It gives me the vibe and the sound the band is after. Plus it's easier to pick off anything from the board. I'll back up with busses off the board as well.
If it's classical, I'll try to get in a dressing room, or at least under a stage. My most accurate cans are open and will use them if I'm isolated.
Old 31st August 2007
  #12
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Jim vanBergen's Avatar
 

I've done several where I was stageside, a couple ONSTAGE (people thought I was the monitor mixer...sometimes I was doing that as well!) Once for a piano & vocal duo I was behind them and though I had plenty of piano but was sadly mistaken, so I'm very reluctant to be close to the stage when I have other options. Getting away from it allows you to listen more closely at lower volumes, working at FOH gives you distance and isolation, plus sometimes the ability to PFL the FOH desk to see if they have a problem I might be sorting thru.
Old 10th April 2009
  #13
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Remoteness's Avatar
We talk a lot about what gear we use and how it's used.
We even talk about why we use the equipment we have, but we don't talk a lot about where we use it.

I still rather be at FOH if I cannot set my rig in an isolated space.

What do you folks think?
Old 10th April 2009
  #14
Gear Maniac
 

Quote:
Originally Posted by JayCrouch View Post
I'm feeling motivated to start designing a self contained rack that will house everything from the DAW/Monitor, power regulation, input stages, and headphone world. The plan is to document what my particular needs are for the example, and find the most cost efficient ways to make this idea a reality. I am certain that sitting down and working this out on paper will most likely institute to make equipment changes, as well as new ways of thinking...

If anyone is looking to build something of a similar nature, please chime in so we can take a crack at it. Being able to find a solution for someone else definatly comes in handy when you are going down that road yourself..

back to the drawing board...
I'm doing a similar project at the moment. I have designed a road case to contain a full DAW plus FOH/Monitor console and related gear aswell as a custom patch system using internal patchbays to multipin's to get inputs from cores, split boxes and analogue signals using multipin leads and multipin to fan looms.

The key to a custom cases design is pretty much where it's going to be located, what it will contain and the means of which the gear will be connected to the source.

I've managed to fit in my entire DAW including Monitors, pre's, master clock, rack draws for leads and mics, laptop mount and a patch bay.

Pretty much I've made the case around two 19' racks side by side with top mixer racks with about 6U of usable space below the mixer on one side and all space usable on the other side as the top mixer part will be filled with blank pannels including a rack fan to make a make-shift notebook cooler aswel as a gooseneck lamp at the back for the console.

Ideally I will buy my own external splitter box with a transformer isolated split for myself when doing location recording and a different system is being used. The patch bay allows for my system to become the main system with easy connection to a multicore.
Old 10th April 2009
  #15
Gear Maniac
 

Quote:
Originally Posted by Remoteness View Post
We talk a lot about what gear we use and how it's used.
We even talk about why we use the equipment we have, but we don't talk a lot about where we use it.

I still rather be at FOH if I cannot set my rig in an isolated space.

What do you folks think?
I love being at FOH at any gig. Whether I am mixing FOH or a punter or working crew on the gig, FOH is the best place to be.

When recording a gig I've only ever been at FOH but I would see the advantages of being in a different room if possible, but a runner or stage had would be needed to take care of the equipment, i.e. make sure no punter raids the stage and nocks over the room mics etc or if the overheads fall over etc. It's always good to be on hand if anything goes wrong, not monitoring from a different room, it's good to actually hear the recording, but at the same time, it's good to see the recording.
Old 10th April 2009
  #16
Lives for gear
 

I like to setup on the side of the stage. Mainly because if something happens on stage I can fix it quickly (mic gets repositioned, cable fails, etc). I also prefer to be a monitor engineer rather than FOH so maybe I'm just biased.
Old 10th April 2009
  #17
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All of the remote gigs I do are jazz/classical or cabaret stuff. No rock. I am usually doing FOH at the same time. I just make sure to get good level to tape during soundcheck and then just record the show. I use a DAW so I stop and save after each tune, and that is really the only fussing I do with the recording except maybe riding a preamp or too if someone is really feeling it and playing/singing much louder than they had in soundcheck. I check it periodically with headphones, but most of my focus is on the FOH.

I find I do my best post mix when I sit and listen to the entire concert and do my best to recreate that on the mix. I have done a few things in isolated rooms when I was only doing recording and I just felt too detatched. Just personal preference though.

Good Luck Guys!
Robby
Old 23rd May 2009
  #18
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Is it totally weird to just set up in the front of the audience if one is doing classical shows? I have a pretty compressed rig minus all the mics and stands, and take up just two seats worth of space with my laptop, preamps, audiofire8, digital backup. Am I being totally unprofessional that way? I like being in the audience and hearing the show, knowing how it really sounds (once I get levels, I often listen with my headphones off and make notes here and there), but I also do not have a huge, long snake. *running out of money sigh*

ps: audio snake!
Old 23rd May 2009
  #19
Super Moderator
 
Remoteness's Avatar
IMO, I believe you should ask yourself if you would feel weird setting up in front of the audience.

Then the same question should be directed to the promoter of those classical shows.
If every one's cool with it you're set, but what about that person sitting next to you that may inenvertantly bump into your rig and possibly damage or stop the recording process?

There is a liability you must consider.
One way to deal with it is to take up the surrounding seats as a buffer.

I hope this helped!


Quote:
Originally Posted by desotoslo View Post
Is it totally weird to just set up in the front of the audience if one is doing classical shows? I have a pretty compressed rig minus all the mics and stands, and take up just two seats worth of space with my laptop, preamps, audiofire8, digital backup. Am I being totally unprofessional that way? I like being in the audience and hearing the show, knowing how it really sounds (once I get levels, I often listen with my headphones off and make notes here and there), but I also do not have a huge, long snake. *running out of money sigh*

ps: audio snake!
Old 23rd May 2009
  #20
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Thanks, Steve! Yes, I do feel a bit weird. But, I have also only done live ensemble recordings less than 20 times, so I am still new. I'd probably feel better in the back of the theater/auditorium. But I really can't afford a snake right now. I am maxed for awhile.

I have an important gig coming up in a couple of weeks. I will plan on setting up on two chairs in the front row. Usually people avoid me, anyway, but this is a ticketed event, and I have a feeling it will be well attended.

Oh woe is me, I didn't even really begin to think this would be a problem until tonight.

That said, I like being close to my microphones, and keeping an eye on things, for whatever that's worth.

I mean... I'm going to have 4 mic stands set up... that's going to be way more visually obtrusive than some dude with a laptop in the front row...

thanks again!

edit: I was thinking some more, and I so no reason why I can't at least set off to the side of the seating. I have 50' cables for my mics.. should allow me a bit of leeway.
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