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What to do with Mono soundboard used as bulk of mix?
rocksuitcase:
Sorry:
--- Quote ---it's very wookified
--- End quote ---
I missed that. As with all things, ymmv. I'd now go with the added reverb thing or possibly a pseudo stereo mix.
adrianf74:
Thanks Rocksuitcase and, as always, Gutbucket.
This is a very difficult one to wrap my head around. I'm usually VERY good at pretty much knowing the exact direction I'm going to take with the given elements but appreciate the feedback from both of you.
What Rocksuitcase said is one of the ways I usually go about this. Depending on the level of wookiness at a show, the amount of soundboard to audience can vary but I usually try and keep it no more than 50/50. There are times where I've had to almost take out the audience because of unruliness -- this happened to me once at a show by a really well-known artist who allows me to record his shows with the understanding that they don't get released. During one track, I had to fade the audience to almost nothing in order to get rid of the distraction. I ended up using some generic audience noise I had to "fill the hole" but it wasn't ideal. Great show, great performance, great mix (properly mixed for playback rather than what the venue hears), but the ass-hat killed it.
This show I'm working on is most different than anything I've dealt with before. The two recorders being used (both Sony but an (1) A and (1) M) will have to be brought closer together as there is drift. Then there's the other issue at hand which is a guy yelling off his rocker sitting about 10 feet next to the audience mics. There were other times where him and his group were chatting incessantly. This show as a very intimate setting with about 50 people in a small room where the stage was maybe 30-40 feet from the doors. The stage mic picks this guy up, even, albeit relatively quiet compared to the artist.
So, this is more the case of the cocktail party chatter if it weren't for this guy. Reverb was added to the vocals, naturally, so maybe adding a little more to the overall mix will help. The point of what you raise with the Marvin clip is pretty neat. I'm used to the "chatter version" from the LP but what I'm trying to avoid with the final mix here is something that doesn't sound like I'm removing parts of the audience mix intentionally which will sound the case if I drop it out completely at points. I know I have my work cut out on this.
And before I forget, Nulldogmas' suggestion was perfect -- if only that were a possibility. People in my town are, generally, pretty far from silent.
Thanks everyone.
relefunt:
Is there a DeWooker plugin for iZotope?
adrianf74:
--- Quote from: relefunt on November 12, 2021, 07:13:50 PM ---Is there a DeWooker plugin for izotope?
--- End quote ---
If only...
hoserama:
Here's how I would attack it:
1. Run the soundboard through the music rebalancer in Izotope RX, split to vocals + everything else. Mix them as independent stems
2. Align the audience recording to the soundboard
3. Clean up the AUD in Izotope RX...zap particularly intrusive crowd noise
4. Load everything up in a DAW. Mix to flavor.
5. For SBD vocals extraction, likely bit of EQ + limiter + reverb
6. For SBD guitar/other, likely bit of EQ + spatializer for depth
7. Get a good sounding soundboard feel, then start mixing in the aud
8. Likely roll off a bit of low-end from the AUD to remove mud but depends on how the AUD sounds. I would keep the AUD at a basic nominal level so it sits a bit underneath the sbd. Then automate the AUD higher between songs. You could do a sidechain compression and tie it to the vocals so you get a few DB of ducking whenever there's vocal chatter between songs.
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