Become a Site Supporter and Never see Ads again!

Author Topic: Seeking advice on an upcoming project- $2k budget, best technique in ~700 rooms?  (Read 2445 times)

0 Members and 1 Guest are viewing this topic.

Offline love2tape

  • Trade Count: (0)
  • Taperssection Newbie
  • *
  • Posts: 28
Hello,

I would like to say from the onset that I realize that the best possible avenue of learning is going to be getting out there and experimenting as much as possible. I am by no means looking for others to do my homework for me- I have been aggressively researching all the options that are available to me, and I am still early in this process- I am only looking to pick the brains of anyone who would be so generous as to share their insight or perspectives on how I might go about capturing the best possible recording(s) in the near future, given their individual experience and perspectives. I am about 2.5 months out from this particular project- it is fairly daunting trying to catch up and hone in on exactly what information will be the best for me to brush up on, given the wealth of information at my disposal wrt audio engineering and live recording.

I have been capturing audience bootlegs for about two years now, and I am seeking to step up my game as much as possible after having been granted permission to record with the blessing of one of my favorite bands. I'll have a bit more setup time than I am used to, here- so I am trying to explore my options and come to a conclusion regarding which equipment I am going to purchase and which technique I am going to employ.

The room: https://www.google.com/search?q=saxapahaw+ballroom&rlz=1CATAAB_enUS676US676&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiY9fHzrsbdAhUIsFQKHadYCsYQ_AUIDygC&biw=1745&bih=878#imgrc=xQbwbrLCissMYM:

Me: Passionate, dorky, but lacking experience with professional equipment and formal setups.

My budget: ~$2,000

The band: Rock. Four piece ensemble- Guitar/vocals, drums, bass, and an instrumentalist who alternates between sax, clarinet, and keys.

My current setup: Zoom H4n pro w/ CA-14 omnis & the ability to occasionally plug into the board. Here's my last go of it: https://archive.org/details/tmg2018-09-14

I am currently looking at purchasing an Edirol R-44, a CSM88 (Blumlein) from B9Audio, and a Zoom H6.

The Edirol would be an investment for future advancement- For this project, I would be utilizing it to capture a clean feed from the board, and I am looking at the CSM88 due to the reports of its exceptional value, and others fervent passion for blumlein captures. The H6 would be used to power and monitor the CSM88- I would be purchasing it under the assumption that I may not be able to run it into the R-44, and I want to have the possibility of maximal mobility with the mic. My working plan would be to set the mic up on a ~9' boom near the mixer (seen at the bottom of the image posted above) in the back center of the room, set up a bar to clip my CA-14s to as a backup / to experiment with mixing it in for lows (I have always been impressed with the bass capture of the CA-14 omnis), and mix these with what I capture from the board.

I am curious for anyone's perspective on this working plan (And especially if anyone has any suggestions totally different from what I'm considering, given the nature of the room and techniques/gear they have utilized in the past)- my main concerns are the following:

-Do you think it foolish to use the CSM88 for this project, in the position I am thinking of? My research has indicated that it would not typically be set up at the distance I am planning- But I am struggling to find a better plan with it, and it seems to be a fantastic investment which could produce excellent recordings in the smaller rooms I plan to record in in the future (400-600 capacity venues)

-If you believe the CSM88 to be the wrong path, which ~1k mic(s) would you suggest for the position I am thinking of?

I expect to have a fair degree of leeway regarding setup- research has indicated that dual omnis positioned at the ends of the stage above the crowd is often a good choice. I am struggling to find quality omnis that run under 2k, though. Is this something that is worth exploring more? I am concerned regarding how it will actually end up re: buying clamps/stands and setting up on the stage given that I have no experience. Setting up at the back of the room seems like the safer bet?

And finally, I have been exploring the how-tos regarding capturing the best possible feed from the board. In the recording I linked, I was able to get a feed via XLRs into my zoom from the mixer located at the back of the venue- Am I correct in thinking this is different, and sub-par in comparison to plugging into the "soundboard", which is located on the stage?

My goal here is to purchase equipment as soon as possible, and then seek avenues to set up and experiment in my local community (Phoenix), leading up to the opportunity at the venue in the image at the end of November.

Geeze, I'm really asking a lot here, I know. I'm a total novice, and I have a LOT to learn. I've been googling as much as possible to soak everything in, and I will continue to do so. Thanks to anyone who gives this any thought, I will appreciate any perspectives that are shared. If anything this just allows me to collect my thoughts. Appreciate this forum a lot, it has been very helpful in my journey thusfar.
« Last Edit: September 19, 2018, 02:25:43 AM by love2tape »

Offline DSatz

  • Site Supporter
  • Trade Count: (31)
  • Needs to get out more...
  • *
  • Posts: 2594
  • Gender: Male
I have used an R-44 for hundreds of live recordings over quite a few years now, and it has never failed me. The only thing that takes some getting used to is the two concentric level-setting knobs per input channel. (Make sure yours has the latest firmware, which improves the metering.)

But I would never choose Blumlein as my sole approach when I have to record in many different settings that I have no control over. Almost any other approach would give you a higher success rate! I think of Blumlein somewhat as the unicorn among stereo recording methods: When it works well, it works beautifully--but it requires an outstandingly good acoustical situation to begin with--to a degree that is rare even in the classical music world where I mostly work--plus an arrangement of sound sources within that space that fits the unfortunately narrow horizontal scope of the microphone pair. You also need ample opportunity to find just the right placement for the mikes. It is very nearly the exact opposite, IMO, of the basic requirement for the kind of project you describe--though if you're prepared to reject at least half your recordings, by the time the project has ended you will undoubtedly become very good at using this technique to its best advantage.

If you must use just one miking technique for all the recordings, and you want to keep down the risks of abject failure (even at the cost of some special benefit that you could have gotten in a given instance with a more customized setup), then I would recommend ORTF instead, or something like it. If you typically will be forced to record from a greater miking distance than you would choose if you could choose, use supercardioids instead of cardioids, bring the capsules a bit closer together, and narrow the angle between them a bit. Or if your miking distances can usually be as you prefer, and the recording spaces tend toward pleasant-sounding, you could have yourself some fun and use wide cardioids (spaced farther apart than ORTF) instead. (Hint: In the actual Schoeps line, rather than these "tribute microphones" if I may call them that before I think twice about it, there is a very interesting creature called an "open cardioid" which is between cardioid and the more usual type of "wide cardioid".)

--best regards
music > microphones > a recorder of some sort

Offline rocksuitcase

  • Trade Count: (1)
  • Needs to get out more...
  • *****
  • Posts: 5163
  • Gender: Male
    • RockSuitcase: stage photography
Quote
I am struggling to find quality omnis that run under 2k,
Just regarding this statement: We've been using AKG ck22 omni caps with either c460 pre amps OR nbob collettes. Even with new nbobs (~$550) and used caps ($~400ish) Your well below $2k.
In fact, no affiliation- but spyder9 currently has these 460/ck22's for sale for $600: https://taperssection.com/index.php?topic=186957.0

In my opinion, the caps alone are worth buying this 460/ck22 setup (At his price). I've been ogling these ck22's for a while but I made the move to a new pair of DPA 4060's (not fully paid for so not in hand yet!).
music IS love

When you get confused, listen to the music play!

Mics:         AKG460|CK61|CK1|CK3|CK8|Beyer M 201E
Recorders:Marantz PMD661 OADE Concert mod; Tascam DR680 MKI

Offline heathen

  • Trade Count: (16)
  • Taperssection All-Star
  • ****
  • Posts: 1670
A pair of DPA 406x, even at full retail, would cost well under $2k. 

Edit: Also, jnorman has written very positively in the past on here about the Audio-Technica AT4022 omnis.  $700 for a pair at full retail.
« Last Edit: September 19, 2018, 01:15:42 PM by heathen »
Recordings on LMA: https://archive.org/search.php?query=taper%3A%22Lucas+Lorenz%22
Mics: Core Sound TetraMic | AT4031s | AT AE5100s | AT853s (C/SC) | Line Audio CM3s | DPA 4061s | CA-14 omnis | Studio Projects CS5 Pre: CA9200 Decks: Zoom F8 | Roland R-05 | Tascam DR-2d

Offline love2tape

  • Trade Count: (0)
  • Taperssection Newbie
  • *
  • Posts: 28
I have used an R-44 for hundreds of live recordings over quite a few years now, and it has never failed me. The only thing that takes some getting used to is the two concentric level-setting knobs per input channel. (Make sure yours has the latest firmware, which improves the metering.)

But I would never choose Blumlein as my sole approach when I have to record in many different settings that I have no control over. Almost any other approach would give you a higher success rate! I think of Blumlein somewhat as the unicorn among stereo recording methods: When it works well, it works beautifully--but it requires an outstandingly good acoustical situation to begin with--to a degree that is rare even in the classical music world where I mostly work--plus an arrangement of sound sources within that space that fits the unfortunately narrow horizontal scope of the microphone pair. You also need ample opportunity to find just the right placement for the mikes. It is very nearly the exact opposite, IMO, of the basic requirement for the kind of project you describe--though if you're prepared to reject at least half your recordings, by the time the project has ended you will undoubtedly become very good at using this technique to its best advantage.

If you must use just one miking technique for all the recordings, and you want to keep down the risks of abject failure (even at the cost of some special benefit that you could have gotten in a given instance with a more customized setup), then I would recommend ORTF instead, or something like it. If you typically will be forced to record from a greater miking distance than you would choose if you could choose, use supercardioids instead of cardioids, bring the capsules a bit closer together, and narrow the angle between them a bit. Or if your miking distances can usually be as you prefer, and the recording spaces tend toward pleasant-sounding, you could have yourself some fun and use wide cardioids (spaced farther apart than ORTF) instead. (Hint: In the actual Schoeps line, rather than these "tribute microphones" if I may call them that before I think twice about it, there is a very interesting creature called an "open cardioid" which is between cardioid and the more usual type of "wide cardioid".)

--best regards

Thank you very much for this input- it's what I feared, and the direction I was leaning in as I researched the virtues of blumlein more. I am looking into ORTF recordings and liking what I hear- even in a rock setting. Going to deeply explore this avenue. That Schoeps ORTF setup looks so great and newbie friendly in everything but price..


Quote
I am struggling to find quality omnis that run under 2k,
Just regarding this statement: We've been using AKG ck22 omni caps with either c460 pre amps OR nbob collettes. Even with new nbobs (~$550) and used caps ($~400ish) Your well below $2k.
In fact, no affiliation- but spyder9 currently has these 460/ck22's for sale for $600: https://taperssection.com/index.php?topic=186957.0

In my opinion, the caps alone are worth buying this 460/ck22 setup (At his price). I've been ogling these ck22's for a while but I made the move to a new pair of DPA 4060's (not fully paid for so not in hand yet!).

Thank you- feel silly for making for that statement, I should have phrased it as 'struggling to find a standard'- I appreciate this suggestion, going to assist in some research after work tonight.

Offline KenH

  • Trade Count: (3)
  • Taperssection Member
  • ***
  • Posts: 688
  • Gender: Male
I'd recommend something like this:  https://taperssection.com/index.php?topic=187791.0, but I'm biased :)   Well under $2K.
retired

Offline todd e

  • Site Supporter
  • Trade Count: (3)
  • Needs to get out more...
  • *
  • Posts: 3461
  • Gender: Male
  • ***Team Schoeps***
get a used pair of cardiods, and FWIW, there are people selling schoeps for UNBELIEVABLE reductions in price, like 50% off, so come round here often and check the yardsale if you wanna go schoeps!

Offline capnhook

  • All your llamas are belong to us....
  • Site Supporter
  • Trade Count: (20)
  • Needs to get out more...
  • *
  • Posts: 3700
  • All your llamas are belong to us....
Last time I was at Haw River Ballroom, they were mixing on the rear right-hand side (on the platform where the "kettle thing" is in your pictures), not in the center as shown.
Proud member of the reality-based community

BSCS-L->JB-mod [NAK CM-300 (CP-3) and/or (CP-1)]->LSD2->CA CAFS-Omni->Sony ECM-907**Apogee MiniMe Rev. C->CA Ugly II->**Edirol OCM R-44->Tascam DR-22WL->Sony TCD-D8


"Don't ever take an all or nothing attitude when it comes to making a difference
and being beautiful and making the world a beautiful place through your actions.
Every little bit is registered.  Every little bit.  So be as beautiful as you can as often as you can"

"It'll never be over, 'till we learn."
 
"My dream is to get a bus and get the band and just go coast to coast. Just about everything else except music, is anti-musical.  That's it.  Music's the thing." - Jeb Puryear

Offline Gutbucket

  • record > listen > revise technique
  • Trade Count: (13)
  • Needs to get out more...
  • *****
  • Posts: 12651
  • Gender: Male
Tell us more about your project in general- 
Will you be primarily recording the band you mention?  What type of music is it?  Will you be recording other types of music as well?  You mention your budget and what gear you currently have.  What is your comfort level with the technicalities of recording, and with dealing with the recording afterwards- managing multiple files, mixing them, etc?  Are you more of a "get in and out quick" type guy, or a "go in with the band and do more complicated things" guy? How much time and effort are you willing to dedicate to the recording after the performance?  Do you want to walk out after the performance with essentially a finished recording, or are you willing to work on balancing and polishing it afterwards?

And more specifically-
Have you recorded this band in that room before?  If so, did you record the PA feed from the mixer (the soundboard at the back or side of the room, not the monitor mixer on stage if one is present) and if so how complete was it?  Was the mixer feed mono or stereo? Were all instruments evenly represented or were some missing or at very low level? How much freedom will you have there in placing microphones and wiring?  Can you put a mic stand where ever you like?  Like out in the center of the floor ~1/4 of the way back from the stage?  Can you place microphones on stage?

Your answers to these questions will help us advise you.
musical volition > vibrations > voltages > numeric values > voltages > vibrations> virtual teleportation time-machine experience
Better recording made easy - >>Improved PAS table<< | Made excellent- >>click here to download the Oddball Microphone Technique illustrated PDF booklet<<

Offline Gutbucket

  • record > listen > revise technique
  • Trade Count: (13)
  • Needs to get out more...
  • *****
  • Posts: 12651
  • Gender: Male
What I can say for now-
Strongly agree on not going with a dedicated Blumlein-only microphone as your primary microphone!

Consider the ideal recording you can make there as essentially being composed of 3 separate sound elements.  These are: The direct sound and early reflections radiating from the band on stage, the sound though the PA, and the ambient sound of room itself, or rather, the sonic excitement of that space by the band and audience, exclusive of the direct sound and PA sound components (basically room reverberation and audience reaction).

In essence, your task is figuring the most practical way of getting an optimal blend of those three components.  There are many different ways of going about that.  Many of them involve placing a pair of microphones where that blend happens naturally and automatically, in the air, at the recording position.  That's simple to setup, and seems the obvious choice on the face on things, but often we cannot place microphones wherever we'd like, and even if we are we are often unable to determine exactly where that sweet spot is before making a recording.  Sometimes that spot simply does not exist at all!  Or it may be good for one or two of those aspects but not all three.

So other techniques involve knitting together a balanced recording out of combinations of those components which are recorded separately, then stitched together afterwards.  The most obvious example is a combination of a pair of microphones out in the room with a seperate recording of the PA feed from the soundboard.   Others are mics on-stage plus a PA feed.  Or mics out in the audience + mics on stage..
musical volition > vibrations > voltages > numeric values > voltages > vibrations> virtual teleportation time-machine experience
Better recording made easy - >>Improved PAS table<< | Made excellent- >>click here to download the Oddball Microphone Technique illustrated PDF booklet<<

Offline Gutbucket

  • record > listen > revise technique
  • Trade Count: (13)
  • Needs to get out more...
  • *****
  • Posts: 12651
  • Gender: Male
Perhaps getting ahead of things here but following that line of thought-

If you are recording using a single pair of microphones only, place them out in the room in the best sounding spot facing the band and PA, where the blend of the 3 elements is likely to be best.  That's probably going to be in the center of the floor about 1/4 of the way from the stage, right in the heart of the audience up front.

Beyond that, get a SBD feed if you can.  If you have SBD, you can move the AUD mics onto the stage and not lose vocals or other direct elements which are not heard well on-stage.  You'll then get a more lush perspective with the imaging and early-reflections common to an on-stage recording.

If I really wanted to do it right, could do whatever I wanted, and didn't really know what to expect, I'd probably  aim to record all three primary elements separately by:
Placing mics on stage to record the direct sound and early reflections there
Recording the PA feed from the soundboard
And recording the sound of the room and audience

And.. here's the thing about that which I find many tapers seem to not want to accept- combination of those parts afterward becomes increasingly fruitful and less problematic if they are recorded in such a way as to be as separate from each other as possible. 

That means PA vocals and close-mic'd sound with as little room ambience and audience in it as possible (which happens automatically if recording a patch out of the SBD), direct on-stage sound and early reflections with as little PA and room ambience in it as possible, and room ambience and audience reaction with as little direct sound from the band and PA in it as possible.  The more isolated these elements are from each other, the more control you'll have over blending them together optimally.  There will always be plenty of bleed between them even if you go to extremes isolating them from each other. If you are not recording all three elements separately, try and keep whichever is recorded separately out of the recording which is capturing the other two things.

So if you have mics on-stage + a patch out of the SBD, you don't need or want mics out in the room facing directly at the PA! You already have a better version of that PA stuff. You mostly just want room and audience sound without much PA in those mics, at least to the extent that's practical.
musical volition > vibrations > voltages > numeric values > voltages > vibrations> virtual teleportation time-machine experience
Better recording made easy - >>Improved PAS table<< | Made excellent- >>click here to download the Oddball Microphone Technique illustrated PDF booklet<<

Offline Gutbucket

  • record > listen > revise technique
  • Trade Count: (13)
  • Needs to get out more...
  • *****
  • Posts: 12651
  • Gender: Male
Again getting ahead of things, but if you were me, with that budget I'd pickup a 6-channel Tascam DR-680mk2 for about $500 new (or less used) + a good pair of supercardioids or cardioids.  That provides lots of flexibility with a 6 channel recording capability (you can of course just use two channels only whenever you want) and an increased budget for better quality supercards/cardioids + some cables and cheap stands. I have an R44 and it is a great recorder, but my DR-680 recorders make equally good quality recordings at half the cost while providing 2 additional recording channels. 

For that gig, I'd place the newly acquired directional pair of mics at the front of the stage in a near-spaced microphone configuration such as ORTF or DIN, or more-likely space them more widely but angle them apart less.  I'd record the SBD to the second pair of inputs, and I'd tape the CA omnis to opposing sidewalls or against the front wall over the doorways on either side of the stage facing out into the room, away from the PA and band, and record those to the 3 pair of inputs.  Setup would take longer, but I wouldn't have any mics out in the center of the room that would need to be defended or which would be in the way of the patrons, and I'd be likely to end up with a better recording.  But I enjoy putting the puzzle together. 

Listen to the advice of the folks here who offer it, then begin to find your own path forward.  As former girl friend used to say: "let me tell you how to do it, then do whatever you want"
musical volition > vibrations > voltages > numeric values > voltages > vibrations> virtual teleportation time-machine experience
Better recording made easy - >>Improved PAS table<< | Made excellent- >>click here to download the Oddball Microphone Technique illustrated PDF booklet<<

Offline love2tape

  • Trade Count: (0)
  • Taperssection Newbie
  • *
  • Posts: 28
Wow, Gutbucket- this is all excellent input. Thank you so much for all the thoughts.

To respond to a few points-

Tell us more about your project in general- 
Will you be primarily recording the band you mention?  What type of music is it?  Will you be recording other types of music as well?  You mention your budget and what gear you currently have.  What is your comfort level with the technicalities of recording, and with dealing with the recording afterwards- managing multiple files, mixing them, etc?  Are you more of a "get in and out quick" type guy, or a "go in with the band and do more complicated things" guy? How much time and effort are you willing to dedicate to the recording after the performance?  Do you want to walk out after the performance with essentially a finished recording, or are you willing to work on balancing and polishing it afterwards?

And more specifically-
Have you recorded this band in that room before?  If so, did you record the PA feed from the mixer (the soundboard at the back or side of the room, not the monitor mixer on stage if one is present) and if so how complete was it?  Was the mixer feed mono or stereo? Were all instruments evenly represented or were some missing or at very low level? How much freedom will you have there in placing microphones and wiring?  Can you put a mic stand where ever you like?  Like out in the center of the floor ~1/4 of the way back from the stage?  Can you place microphones on stage?

Your answers to these questions will help us advise you.

-Two night stint w/ support from the band & management to get the best recording possible. I'll have all the setup time I need- but I need to speak to the manager regarding just how much leeway I'll have wrt mic placement. I'll be doing that on Friday, so I'll have a bit more of an idea of if mic placing a boom in the crowd is a possibility or not. Almost certain I'd be able to set up mics on/around the stage.
-It's a rock band. They play loud thrashing romps w/ a lot of drums in addition to quieter, jazzy tunes. Vocals are key- fans of the band want to hear clean vocals.
-I have not recorded the band in the room before- it will be my first time in the Haw River Ballroom.
-I am very comfortable mixing multiple recordings, though I am a novice when it comes to equalization and advanced sound editing techniques. Very comfortable mixing, aligning, and adjusting basic levels (Bass, volume, etc)
-I'll have all the time in the world to mix the audio after the fact- though the prospect of mixing an ORTF capture with the SBD is appealing, as I generally aim for a faithful recreation of what was in the room.

What I can say for now-
Strongly agree on not going with a dedicated Blumlein-only microphone as your primary microphone!

Consider the ideal recording you can make there as essentially being composed of 3 separate sound elements.  These are: The direct sound and early reflections radiating from the band on stage, the sound though the PA, and the ambient sound of room itself, or rather, the sonic excitement of that space by the band and audience, exclusive of the direct sound and PA sound components (basically room reverberation and audience reaction).

In essence, your task is figuring the most practical way of getting an optimal blend of those three components.  There are many different ways of going about that.  Many of them involve placing a pair of microphones where that blend happens naturally and automatically, in the air, at the recording position.  That's simple to setup, and seems the obvious choice on the face on things, but often we cannot place microphones wherever we'd like, and even if we are we are often unable to determine exactly where that sweet spot is before making a recording.  Sometimes that spot simply does not exist at all!  Or it may be good for one or two of those aspects but not all three.

So other techniques involve knitting together a balanced recording out of combinations of those components which are recorded separately, then stitched together afterwards.  The most obvious example is a combination of a pair of microphones out in the room with a seperate recording of the PA feed from the soundboard.   Others are mics on-stage plus a PA feed.  Or mics out in the audience + mics on stage..

These are things I have a general conceptual understanding of, but laying them out like this is very helpful. Much appreciated. I am leaning towards 'pair of microphones in the sweet spot + PA soundboard feed'.

So if you have mics on-stage + a patch out of the SBD, you don't need or want mics out in the room facing directly at the PA! You already have a better version of that PA stuff. You mostly just want room and audience sound without much PA in those mics, at least to the extent that's practical.

I have no experience with mic placement on a stage- If I were utilizing cardioids, do you have any advice based on the image of the stage of how you would go about capturing the close-sound you refer to? Right now, I am looking at pushing my budget a bit and picking up the Schoeps MSTC 64g- based on the advice here, and what I have read about it, it seems tailor suited to capturing quality recordings with less know-how. I would be able to purchase a field recorder with phantom power in order to place it wherever I wish- it seems to me that it would be a bit more idiot-proof & has a higher probability of capturing something quality that I can combine with the SBD feed- my main concern would simply be where to place it. I realize that purchasing separate mics would allow for more variation, but I believe that the MSTC would serve me well for a number of years until I build up more gear for manual setups, and I have read the danger in arranging mics in an ORTF arrangement with little experience, and how being off by minor degrees can have pretty large ramifications.

Huge thanks on the Tascam DR-680mk2 suggestion- this does indeed seem like it would fit my need perfectly, and will even provide better battery life than the R44, which is a huge plus.
« Last Edit: September 19, 2018, 09:34:47 PM by love2tape »

Offline love2tape

  • Trade Count: (0)
  • Taperssection Newbie
  • *
  • Posts: 28
Listening to this- https://archive.org/details/LoS2017-10-19.flac16/LoS2017-10-19d1t03.flac

I am thinking ORTF from the center of the first balcony + SBD is the way to go. Not quite certain if I should be setting up on a tripod overlooking the balcony, or clamping to the bottom railing, though- going to try to look into that.


Would there be any meaningful increase in quality taking a feed from the mixer into something like the Tascam DR-680mk2 or Edirol r-44 vs a Zoom H6 with -50db attenuators? Or would they be theoretically identical as long as there's no clipping (given the attenuates)- I'll be getting whatever the feed sounds like from the mixer either way, right?

Offline capnhook

  • All your llamas are belong to us....
  • Site Supporter
  • Trade Count: (20)
  • Needs to get out more...
  • *
  • Posts: 3700
  • All your llamas are belong to us....
Use your Zoom at the SBD, and take your R-44 upstairs.  Run two sets of mics clamped to the balcony rail.

Make great tapes, man.
Proud member of the reality-based community

BSCS-L->JB-mod [NAK CM-300 (CP-3) and/or (CP-1)]->LSD2->CA CAFS-Omni->Sony ECM-907**Apogee MiniMe Rev. C->CA Ugly II->**Edirol OCM R-44->Tascam DR-22WL->Sony TCD-D8


"Don't ever take an all or nothing attitude when it comes to making a difference
and being beautiful and making the world a beautiful place through your actions.
Every little bit is registered.  Every little bit.  So be as beautiful as you can as often as you can"

"It'll never be over, 'till we learn."
 
"My dream is to get a bus and get the band and just go coast to coast. Just about everything else except music, is anti-musical.  That's it.  Music's the thing." - Jeb Puryear

 

RSS | Mobile
Page created in 0.254 seconds with 42 queries.
© 2002-2018 Taperssection.com
Powered by SMF