Recording track from live performance in small space

[Curt Trisko]

I apologize in advance if this question involves splitting hairs. A singer-songwriter buddy and I plan on doing a recording of a live performance in small place - namely, an architectural salvage shop. The entire purpose of the performance is to get a good audio and video recording to mix and edit into something he can add to his portfolio - and something I can have for the memories.

Am I better off doing a direct-in or micing the amp? If the answer is to mic it, what type of microphone do you recommend? My amp is a Nashville 112. My buddy is the only other musician and he will be singing baritone and playing an acoustic guitar.

Thanks!

[Jonathan Cullifer]

SM57 or perhaps a Sennheiser E609 will work. I wouldn't go direct unless you have to, or are planning on mixing/re-amping later.

[Curt Trisko]

SM57 or perhaps a Sennheiser E609 will work. I wouldn't go direct unless you have to, or are planning on mixing/re-amping later.

We plan on doing the mixing later.

[Godfrey Arthur]

I would do both mic and DI. You would have more options during mix down. You would need to get some separation for the live tracks so that the other instrument(s) don't bleed too much onto the other tracks.

Recording is one thing, performing is a whole other universe. They are mutually exclusive. You might like your performance on a take that for some reason did not record well. Preparing for these eventualities helps the outcome.

[Dave Mudgett]

Am I better off doing a direct-in or micing the amp?

Since you're mixing later, I would capture both mic'd and direct on separate tracks. As Godfrey says, many more options in mixing, including re-amping.

To me, mics are a very personal choice. Certainly, the SM-57 or Sennheiser e609 are good budget choices for dynamic mics - around $100 new. The 609 is a flat surface mic and more specifically for guitar cabinets. For around the $200 range, I think the Sennheiser e906 or MD421 work better for recording - to me, more air in the sound, if you know what I mean. The 906 again is flat, more specifically for guitar cabs. If you're gonna be loud, probably want to go dynamic.

In a quieter studio setting for quieter music, I tend to prefer condensers. The prices range so much it's hard to know what to suggest. I have some EV PL84s, which are more intended as a vocal mic, but I like them for recording guitar too. They were dirt cheap on a stupid deal but I think out of production. I also have a couple of Audix f15s, again picked up on a stupid deal dirt cheap. They're often used as drum overheads because they have a nice high end, and I like one mixed with a larger diaphragm condenser for guitar. I also have an MXL V63M studio condenser, which is a medium-large diaphragm condenser, pretty good with guitar for less than $100. Probably wanna shock mount, mine came with it. To me, these mics have a higher sensitivity and better high end for recording, if that matters to you.

Mics are a never-ending rabbit hole, and can also be a serious money sink. But there are some pretty good mics out there reasonable.

[Tony Prior]

is this a public performance or a private performance ? You also never mentioned what recording platform you are using ? 2 track, 4 track, 8 track ?

Recording LIVE brings in elements never imagined and a few never even considered.

Personally I would not "MIC" everything and try to capture a center stage stereo recording . Its the performance that is primary, not the recording.

Over the past decade I have recorded countless LIVE gigs using a Zoom H2 and at times with the Stereo MS907 Sony Condenser mic . The recordings are way more than adequate, in fact, pretty darn good . Whats NOT adequate are the simple STAGE incidents, tuning, noises, wrong notes, pitch issues etc...typical performance issues that nobody would ever notice, well, not until you play it back. We can't MIX out something that occurs during a performance that is obvious.

IF there are people in attendance, ONE person or unexpected NOISE can destroy a really good recording.

The biggest concern with LIVE recordings is not the technicals, its what we hear when we are listening back .

This may be all you need. Turn it on, set the levels, make sure you have fresh batteries and let it run. All you have to do now is play and sing well, which in the scheme of things is more important than the recording. Its the entire PURPOSE of the LIVE recording.

Have fun !

[Curt Trisko]

is this a public performance or a private performance ? You also never mentioned what recording platform you are using ? 2 track, 4 track, 8 track ?

Recording LIVE brings in elements never imagined and a few never even considered.

Personally I would not "MIC" everything and try to capture a center stage stereo recording . Its the performance that is primary, not the recording.

Over the past decade I have recorded countless LIVE gigs using a Zoom H2 and at times with the Stereo MS907 Sony Condenser mic . The recordings are way more than adequate, in fact, pretty darn good . Whats NOT adequate are the simple STAGE incidents, tuning, noises, wrong notes, pitch issues etc...typical performance issues that nobody would ever notice, well, not until you play it back. We can't MIX out something that occurs during a performance that is obvious.

IF there are people in attendance, ONE person or unexpected NOISE can destroy a really good recording.

The biggest concern with LIVE recordings is not the technicals, its what we hear when we are listening back .

This may be all you need. Turn it on, set the levels, make sure you have fresh batteries and let it run. All you have to do now is play and sing well, which in the scheme of things is more important than the recording. Its the entire PURPOSE of the LIVE recording.

Have fun !

It's a private performance, but they're not shutting down the shop us. It will be our significant others, maybe a few friends, and then a couple shop employees and perhaps a customer or too. I think we'll have to live with the fact that the sound of someone coughing or moving a large item will make it into the recording. That would weigh in favor of micing the amp and having direct in, right?

We originally assumed we would center mic it, because that is what we've done when recording ourselves trying out my new arrangements on his songs. In a perfect world that's what I would want to do. But we only plan on doing this once, so I feel the need to hedge our bets about being able to tinker with the sound later. I'm with you, though - in the past I have been much more satisfied with the room recordings from gigs I have played with full bands than a mix made afterwards.

As far as the recording platform goes, my buddy plans to plug as much into his DAW as possible (I forget which one) and to the extent we use more microphones, I will probably record separate tracks into Audacity that can be added later if we want. My steel will be the only thing that is amplified.

[Curt Trisko]

Over the past decade I have recorded countless LIVE gigs using a Zoom H2 and at times with the Stereo MS907 Sony Condenser mic . The recordings are way more than adequate, in fact, pretty darn good.

That Zoom H2 looks really handy. I wonder if they make a model that you can charge by USB instead of batteries.

[Tony Prior]

That Zoom H2 looks really handy. I wonder if they make a model that you can charge by USB instead of batteries.

Curt, it also comes with a power supply, so it can be plugged in close by with the center stereo mic placed somewhere else, like center stage ! If you do use batteries, the recording life is right around 5 hours . This allows placing it anywhere in the room, no power necessary.

They also make a 4 track version which is pretty darn popular as well.

have fun !

tp