Topic: Matrix recording on a Fostex MR-8 HD Setup Help

[victorgator]

Hello.

I'm setting up a rig to record matrix recordings at a small live music bar in Tulsa (Exit 6c).  I have complete access to the bar's soundboard and sound technitian and have already recorded some decent sounding material.  However, I know that you guys can help me tweak my setup.

I am using a Fostex MR-8 HD multitrack to record.  I know that it is probably not the ideal device ("song" time limitations, etc.).  However, I do not have the resources to switch the capturing device at this time. 

I am running one line from the left channel to Track 1, and one line from the right channel to Track 2.  I am feeding out of the separate digital EQ box. The sound is great, but the vocals are always extremely hot.  My soundboard tech says we may be able to set the vocals up on a deferent group on the soundboard, and give me a "vocal feed" but I'm curious if there may be an easier way.

Also, as the club is relatively small, many times the guitars or bass guitar are completely "stage sound" meaning that while the instruments are connected into the soundboard, they are completely turned down.  Is there a way to remedy this problem and capture instruments that are turned down on the PA?  This may be the same question as the vocal problem.

As the Fostex is capable of phantom power, I have also been plugging a $100 condenser mic into Track 3 and hanging it near the soundboard to attempt to fix the stage sound only problem.  However, I am curious if I should put it on stage. This could be easily accomplished through using the mic cables in the snake that already feeds from the stage to the soundboard. (I could just steal one of the cables instead of plugging it into the board). Are there special "on-stage" mics that would be better for capturing the stage sound better than my $100 condenser? 

Thanks in advance for your thoughts.

Victor

[6stringer]

Also, as the club is relatively small, many times the guitars or bass guitar are completely "stage sound" meaning that while the instruments are connected into the soundboard, they are completely turned down.  Is there a way to remedy this problem and capture instruments that are turned down on the PA?

To address the guitar and bass level issue, could you run a direct line out from their amps into the Fostex? I did a similar matrix for my neighbor's band last labor day, and i'm wishing I had gotten a direct line from the guitar amps. They were a bit low in the soundboard mix. Fortunately the board feed matrixed very well with the audience source. Perhaps someone more experienced can help with the rest of your questions. Good luck!

[Kush]

My soundboard tech says we may be able to set the vocals up on a different group on the soundboard, and give me a "vocal feed" but I'm curious if there may be an easier way.

I archive a local band (on occasion I fill-in for the sound guy as well) and record an "on the fly matrix" for them. I've experimented taking the sbd feed several ways [i.e. tape out via RCA's, sub group out via 1/4" (for vocals only)]. It isn't difficult to get a vocal only feed out of the sbd if there are spare sub groups available. I find some of my best mixes in small bars are when having onstage mics and vocals only out of the sbd.

[easy jim]

As the Fostex is capable of phantom power, I have also been plugging a $100 condenser mic into Track 3 and hanging it near the soundboard to attempt to fix the stage sound only problem.  However, I am curious if I should put it on stage. This could be easily accomplished through using the mic cables in the snake that already feeds from the stage to the soundboard. (I could just steal one of the cables instead of plugging it into the board). Are there special "on-stage" mics that would be better for capturing the stage sound better than my $100 condenser? 

To get good coverage of the stage and a stereo soundstage, you will want a stereo pair of mics rather than only one condensor.  Considering that it is a smaller room, on stage or above-stage placement will likely mix better with the SBD and limit any obtrusive crowd noise that might degrade the mic source if located back by the SBD. 

The actual room set-up and acoustics should play some role in the type of mics you choose.  Ceiling mounted PZM mics can be a really nice way to go that is low pro and inexpensive.  Any chance of posting pictures so better advice than 'general suggestions' may be offered?