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On-Location Recording

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Music is often at its very best when it is performed live in front of an appreciative audience. 

Here at Blantone Music I offer some mighty fine equipment and the know-how to capture your performances at their very best.  More on that in a bit.  First, let's take a look at the larger picture.

Most quality venues have great production equipment in their front-of-house (FOH) deployment: a snake to accept microphone input for connection to the mixing console where the FOH engineer makes the magic happen as they support and assist artists in their presentation, combining all the elements of instruments and vocals and routing these through the speakers which fill the room with their refined output.  This output is tailored to the room in which the presentation is made.  This, in turn, means that the instruments and voices are most often frequency equalized, compressed (tweaked for presence, punch, an/or volume in the mix), and subsequently placed judiciously within a stereo spectrum representing the side-to-side distribution of the sounds which are already occurring naturally in the room as the musicians occupy a space (both physically and sonically) and play from these respective positions on stage.

So, then, what are the considerations performers should make in anticipation of capturing what they do "live", and what are their options in doing so, whether for reference, or for the production of the material for a consuming fan base?

One of the first and most important considerations is whether to join in and accept the output given through the room itself in conjunction with what the FOH engineer produces.  Can this output be combined with the recording medium to yield usable results?  In some instances it can, but most likely only for 'reference' purposes used to document a performance, and likely, too, only for consultative purposes; wherein artists use these to gauge the quality and impact of their performances.  These would not be intended for release publicly.  Where this is the case the recording quality need not be pristine.  Depending on the acoustics of the room, however, these might be used for more, including release publicly or commercially...so much depends on the room.  Most recordings of this type are two-track stereo taken from the FOH mixing console.  Moreover, as most rooms DO require processing sounds via the FOH engineer regarding frequency equalization, compression, volume, et cetera, these changes to the sound will be represented in what is captured in the recording. This would NOT be the most ideal way to sonically craft a live recording.  Once EQ or compression have been added to a recording, it's indeed difficult to undo those changes!

The method which would yield the most control over the material to be recorded involves splitting the signals from the stage so that the FOH engineer gets one 'feed' and the recording engineer gets THE SAME BUT SEPARATE FEED, all in a multi-channel format, of course.  The recording engineer then has the liberty to apply processing...or not without concern for what is happening with the FOH.  Generally, the recording engineer will eschew any significant audio processing in the initial recording stages, opting later to apply these to the material as needs dictate ...and within the familiar confines of his own studio and control room.

Here at the Green-House I can travel to the venue of your choice.  When I get there, I will be using some of the finest equipment available, including some of my classic, revered microphones.  I take care of the split with FOH by providing transformer isolation, ground lifts, and all the cabling necessary.  Currently I am able to record 16 quality tracks.  This generally proves to be plenty for most small to medium-sized acts.  Of course, this includes enough to bring in the sound of the room so that you and your fans get the feeling that you are indeed right there!

Please surf over to the MUSIC PAGE and check out the live clips from Velvet Truckstop, CITIZEN MOJO, Blues Kravin, The Sharkadelics, and the Lenoir Saxophone Ensemble.  That will give you as good an idea as an mp3 can of the quality I pride myself on here.  I WILL LOOK FORWARD TO HEARING FROM YOU!

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email: info@blantonemusic.com

phone: 828-724-1500