• Techniques
  • Recommendations on Live Music Recording
2014/03/08 14:01:46
BoostSoftware
Just looking for expert tips and tricks for a semi-professional videographer.  I normally use an onboard mic to pick up audio when shooting live performance.  However, I want to do a slick demo for a musician and would like to hear what the best practices are for this.
 
There will be mainly acoustic guitar and vocals (with harmonica on a neck stand).  In the past I've done live music at venues where we just take a line feed from the audio board.  For this, we will be in a controlled setting (studio) and I'd like to patch directly into my Mac, if possible.  I use Final Cut for video editing, but don't think there are that many options for manipulating the audio as would be done with an audio console or software.  One friend who is big on Mac just recommended Garage Band to record the audio.  One thing I'm not sure about is the ability to sync the audio with the live video.  This could be tricky. 
 
Will be spending more time researching for custom configurations for my needs.  Since this is a first-time project of this kind, I really don't have the budget to afford professional audio software and training.  I've done a ton of music videos in my day, but the digital technology has been a little bit of a challenge for me to transfer all of my audio/video knowledge.  In fact, it's much different in how to create an audio podcast and post it versus a video file to a You Tube channel or Facebook. 
 
With all the pros hanging out here, I figured I could get a few ideas on how to proceed.  Any recommendations would be greatly appreciated.
2014/03/08 14:19:03
bitflipper
Lessons learned the hard way:
- show up before the band and do some tests on the empty stage to make sure you've remembered to bring everything you need
- as the band sets up, look at them through the viewfinder. Watch for badly-placed lights and blocked views; once the band's all set up it's too late to suggest changes
- use more than one camera, even if it means a static shot on a tripod
- don't forget to video some drum hits or other sharp sounds before the music starts, to check synchronization
 
2014/03/08 19:19:50
Karyn
Put a stereo pair of mics at the best place in the room, have a walk around while they're playing to find where sounds best. Record this straight to your mac. Leave it recording the whole time you're there. This is your master sound.

If you mean recording studio... Mic everything up and take a desk feed to your mac.


The more cameras you have, the better. If you only have one, make them play the track 4, 5 or 6 times as accurately as they can. Focus on the singer/soloist from at least 2 angles.

When editing, choose the best of the takes from your master audio track and use it in its entirety. Sync the matching video for that take then drop in cuts from the other video takes synced to the master audio. Don't put the audio from the video camera into the mix...


Several video editor apps will auto sync multi camera angles based on the audio.
2014/03/08 22:44:10
spacealf
There are always options. Video recording (with an external mic) on the camera can be done, as well as adding an audio track of the same thing (at least in my $50 software). Mixing the volumes can be done along with downing if necessary the camera audio volume which can be separated into video and audio (and that has to be done showing the waveform of the audio of course with the video there also) from the software video program. And if you have an audio track and edit it in sonar and then export the wave sound, then if it is at the same sample rate of the video camera (old ones used to be 48000 sample rate compressed and 16 bit like my old camera) or new HD camera where it should be listed in the manual somewhere also may be the same. (equivalent to 48000Hz sample rate and 16 bit). And you have a audio mixer in the software the video and camera audio on one track and the imported wave form of just the audio on another track then the video audio can be turned off and only the imported file used, or a combination of volumes whatever.
 
The only thing in video codecs is if you want straight 48000 Hz sample rate at the end and 16 bit like what was recorded, my software only makes an *.avi file that way, and those can be enormously very large files depending on length of the video.
2014/03/12 10:40:03
BoostSoftware
Great tips!  Thanks for all the ideas.  I'm good on technique, as far as shooting, angles and basic methods of production and even synching the audio (click tracks, master track, etc).  However, the real info I am needing was addressed in the sample rate criteria.  I guess it is really going to depend on what software I use and how to interface that with the equipment, i.e. audio board versus mics. 
 
Since I've done a ton of music videos in the past, using a line feed from an audio board to the camera or deck, I guess this narrows my question down to what kind of connectors or cables are used to interface with the computer. I have plugged in my keyboard to use Garage Band and suppose plugging in an audio board would be similar.
 
I am leaning toward the use of Garage Band to do some practice recordings before considering professional software.  However, I do have the Adobe Creative Suite and think there may be a one included in that package, since it is cloud-based and offers all the pro-Apps, like Adobe Premier, Photoshop, Dreamweaver, etc.  And, I may have access to a new audio software/hardware system that was recently installed at our Community Theater.  Guess that is where the real world/hands on practice will take place. 
 
Just thinking I may fool around with what I have at home studio to get familiar with the basics and then move to more advanced training resources.  Having shot, edited and aired hundreds of music videos "back in the day" I feel like I'm starting all over again!  There's a bit of a learning curve in transitioning to digital technology.
 
Thanks for all the input and advice,
Erin
 
 
PS...Here is a list of offerings on the Adobe Creative Suite.  Would soundbooth be a comparable recording studio program I could use for this application? 
Adobe Premiere Pro CS5
After Effects CS5
Photoshop CS5 Extended
Illustrator CS5
Flash Catalyst CS5
Flash Professional CS5
Soundbooth CS5
Adobe OnLocation CS5
Encore CS5
Bridge CS5
Device Central CS5
Dynamic Link
2014/03/12 13:58:16
rumleymusic
Soundbooth was designed for videographers needing a dedicated audio program.  It has since been discontinued in favor of the fully featured Audition program, but it should still work.  Sample rate standards for video are 48khz at 16bits (but always record at 24bit), you should be running the audio through a dedicated preamp/converter and not directly into your computer "mic" inputs or the sound will suffer greatly.  There are plenty of cheap USB audio interfaces out there.
 
 
2014/03/14 15:59:31
BoostSoftware
Thanks, Daniel.
 
That is just the information I needed to know.  Will report back as I've had time to experiment. 
Much Appreciation!
2014/03/14 18:01:57
BenMMusTech
If you have an IPhone get an IXY from Rode.  The quality will amaze you, you will def get excellent quality releasable quality stereo recordings.
 
Ben
2014/03/15 12:03:18
wst3
Bit (as usual) hit the highlights, but I'll add a couple thoughts...
 
call me a wuss - or a dinosaur or even a curmudgeon - but I'm still not 100% comfortable recording to a computer for a "one chance only" recordings. I use a now ancient Fostex D-108 when I do location recording. I'm not suggesting that you should abandon the computer idea, just throwing this out there.
 
You will want some choices when it comes to microphones... different microphones will work better in any given situation. I take a minimum of:
1) a pair of Cardiod SDCs - usually Earthworks SR-77s, sometimes AKG C-451s. If I had a pair of KM-84s or CMC6/MK41s I'd take them<G>!
2) a pair of Omni SDCs - Sennheiser MKH-405s for me, but there are lots of candidates.
3) a pair of Cardiod LDCs - pick your poison, I take a pair of TLM-193s or a pair of GrooveTubes MD1s, wish I had more options
4) a pair of Omni LDCs - I use an AKG C414 and an AKG C12A cause that's all I have. These are multi-pattern, so I can also set up a Mid/Side or even Blumlein configuration if I am so inclined
5) a stereo ribbon, mine is a Royer SF-12, and for a change I feel no need for options.

You will also want really sturdy microphone stands - the down side is they will be huge and bulky and heavy, but they stay put.
 
And, I think specialized fixtures for different microphone configurations are a real time saver. I haven't purchased any of the commercial products, yet, but if I do more location work I will. It will save you time, lots of time, and time is usually a scarce commodity.
 
If your camera can handle time code then you'll want to record time code, but as bit pointed out, recording the drummer will provide a reasonably easy way to maintain synchronization.
 
Don't be afraid to record multiple microphone configurations! I almost always record a conventional stereo pair and the stereo ribbon.
 
Don't be afraid to record in mono - sometimes the combination of the room and the performance just work better in mono.
 
If you have enough gear you might want to record the room as well, if there is an audience present.
 
If you can grab a board mix that's always great to have as well.

The more material you can take away with you the better!!! While I am not a fan of fixing it in the mix, location recording often requires a fair amount of work after the fact...
2014/03/15 12:39:30
Jay Tee 4303
I'm headed in this direction myself, but not very far down the road yet, still dialing in the audio side. Done a ton of stills, live, and I know where issues lie there. I also study a lot of other people's videos from gigs I attended myself...sooo...take this w a grain of salt cuz you probably know better than me where the gaps are in my experience.
 
First off...Sonar X2 Essential set me back $100, and I have yet to find anything  in Producer that Essential is missing that I need for live capture, and if I ever do, Essential files plug right into Pro if need be.
 
Second, I've done everything your original post requests, with just X2 Essential and Premier Elements. Just once, but it was easy, even tho the Premier manual lies off in my future. Premier Elements set me back $100, bundled w Photoshop Elements.
 
Third...nobody is gonna be happy with you being...in the way...while the band and studio staff is trying to lay down tracks, in an expensive facility, that probably was designed more for audio than video work, and probably less so while overdubbing, a fiddley process at a time when project money is running low. That means some advance planning on your part, including but not limited to, your trailing cables, any nouse you or they make, unforseen problems on your end, blocking progress on the audio side, any emag interference created by, or even blameable on you, justly or not, and the idea of re doing any takes just for vid, while on the $tudio clock. Not insurmountable, with planning, and a good attitude on your part. Possibly helpful would be a strong awareness on your part as a Fly on the Wall, seen but not noticed, as to the ebb and flow of the studio process, before you go live. A pre production sitdown, with the the three principles, talent, video, and audio, should help define clear priorities in advance, so that near certain compromises, aren't surprised at any times of stress.
 
Finally...I did not see major problems with sync. Any time at all spent watching Youtube, VEVO included, ought to make you aware that few competing vids even considered sync...drummers wailing on the snare visually during tom solos, chix doing handsprings w mics contacting the floor...silently...etc.
 
Still and all...Entry level software like Elements still provided numerous options to get clips n sound lined up.  In fact... I'm not convinced you need to worry about music audio at all. You are shooting in a facility designed and tuned especially for capturing and editing audio. You should have full access, after the fact, to tracks, stems, rough mixes, final mixes, and masters. Not sure you need to sweat re-inventing the wheel, especially in that environment...however...
 
Some of the best parts of the recording process, visually and audibly, go down between takes...with the red light off. Its very likely you and all you to capture that. On the plus side, how hifi do lounge and tracking room and control room antics need to be to make their point? You might be able to get away w camera mics alobe. Or step up to a good mike wired to the cam inputs. Bit better, add a handheld Zoom type recorder, with a stereo pair to the above. Know where your audio feeds are in advance so you can tap in on your discretion, and test them thoroughly to make sure jacking in doesn't put artifacts onto the master tape. Choose carefully WHEN you jack in...the ONE TIME you don't want a pop is the 387th take of the bridge, the ONLY one that captured the groove w no screw ups...except for YOURS.
 
If you aren't in a hurry, you could chill till a studio set up for simultaneaos audio and video is online and dialed in...I mean seriously...outside your car, you goona listen, when you can listen AND watch...in this century? Hang tuff...I'm on it, we oughtta have mostbof the bugs out and go live by the end of this decade...2025 at the latest...I swear!
 
 
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