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Gear / Technical Help => Ask The Tapers => Topic started by: Nielsen81 on December 10, 2016, 02:27:09 AM
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Hi guys and girls.
Next summer I'm going to see Rammstein and later Volbeat. My girlfriend wants to be as close to the stage as possible, so how do I avoid being caught by the guards when taping from the front row or very close to?
My mics are usually attatched to my shirt just under my chin...
Regards
Nielsen
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I think those little mics don't really draw their attention.
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Being that close (too close IMO) often results in recordings that blow...might just want to keep the GF happy and enjoy the show...
Concealing your gear is the least of your worries...
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Being that close (too close IMO) often results in recordings that blow...might just want to keep the GF happy and enjoy the show...
Concealing your gear is the least of your worries...
Or keep the gear happy and ditch the girlfriend ;D
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Unless there are stage lip speakers, often called Front of House speakers, your recording may end up being really unbalanced
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total hit or miss depending on the setup
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hi!
made many recordings from front row
in front of the speakers which were placed in the photo dig - I was around 2 mtr away ...
all tapes came out amazingly clear and with minimum of crowd noise.
ok you will miss the stereo seperation but my recordings will be mixed
with other aud sources from back of the venue and the result sounds awesome from the
snips I already heard :-)
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pm
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You need to stand next to her for those 90 minutes?
Just tape from your preferred spot, let her enjoy the show from her preferred spot and give her a good tape after the show.
Everybody happy.
If she doesn't understand you can explain.
If she still doesn't understand.....
Good luck! :cheers:
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Tape from the front row. Have fun and don't worry about the recording. Either it comes out well or it doesn't. I did it this summer at a fest and was very happy with the recording. I think it turned out better than the stand recording 75 feet back.
https://archive.org/details/nma2016-07-09.ca-11.flac16
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Tape from the front row. Have fun and don't worry about the recording. Either it comes out well or it doesn't. I did it this summer at a fest and was very happy with the recording. I think it turned out better than the stand recording 75 feet back.
https://archive.org/details/nma2016-07-09.ca-11.flac16
This, but I would add that if you stand far enough back to be sure you're getting sound from the speaker stacks and not just the monitors, you'll have a better experience, too. (So long as neither of you is four feet tall.) Even a few feet should do it, depending on the venue.
And I concur that the guards are going to have many more things to worry about than someone with mics on their shirt.
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I would call speakers on the downstage lip "Front Fill" speakers.
In my experience, "Front Of House" usually refers to the sound and light booth out in the middle of the audience, or the folks who work there.
Unless there are stage lip speakers, often called Front of House speakers, your recording may end up being really unbalanced
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In my experience, "Front Of House" usually refers to the sound and light booth out in the middle of the audience, or the folks who work there.
Historically speaking "Front of House" means up at the front of the building near the doors. That would be "behind the audience". FOH goes back to small clubs where the sound guys set up at the front so they could make sure everyone in the audience could hear the stage., if they could hear it back there they know the audience could hear it okay.
So why does the band these days set their sound guy up beside or on the stage? Because they do not know what they are doing.
Real music venues with their own sound system usually do have it set up in the front of the room, usually on the side opposite from the bar.
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The setup on the side of the stage is typically for the monitor engineer (monitoring in-ears and/or wedges). This is different from the FOH engineer.
So why does the band these days set their sound guy up beside or on the stage? Because they do not know what they are doing.
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the speakers on the stage lip are monitors for the musicians. A stack recording may come out ok if you want to stand close to the stage.
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In my experience, "Front Of House" usually refers to the sound and light booth out in the middle of the audience, or the folks who work there.
Historically speaking "Front of House" means up at the front of the building near the doors. That would be "behind the audience". FOH goes back to small clubs where the sound guys set up at the front so they could make sure everyone in the audience could hear the stage., if they could hear it back there they know the audience could hear it okay.
So why does the band these days set their sound guy up beside or on the stage? Because they do not know what they are doing.
Real music venues with their own sound system usually do have it set up in the front of the room, usually on the side opposite from the bar.
This isn't correct.
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In my experience, "Front Of House" usually refers to the sound and light booth out in the middle of the audience, or the folks who work there.
Historically speaking "Front of House" means up at the front of the building near the doors. That would be "behind the audience". FOH goes back to small clubs where the sound guys set up at the front so they could make sure everyone in the audience could hear the stage., if they could hear it back there they know the audience could hear it okay.
So why does the band these days set their sound guy up beside or on the stage? Because they do not know what they are doing.
Real music venues with their own sound system usually do have it set up in the front of the room, usually on the side opposite from the bar.
This isn't correct.
https://en.wikipedia.org/wiki/Front_of_House
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In my experience, "Front Of House" usually refers to the sound and light booth out in the middle of the audience, or the folks who work there.
Historically speaking "Front of House" means up at the front of the building near the doors. That would be "behind the audience". FOH goes back to small clubs where the sound guys set up at the front so they could make sure everyone in the audience could hear the stage., if they could hear it back there they know the audience could hear it okay.
So why does the band these days set their sound guy up beside or on the stage? Because they do not know what they are doing.
Real music venues with their own sound system usually do have it set up in the front of the room, usually on the side opposite from the bar.
This isn't correct.
https://en.wikipedia.org/wiki/Front_of_House
Right.
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taping from the front row works FINE!!!!
listen to the subtle nuance of McCready's guitar that a rig even 10 rows back would have missed:
http://www.thetradersden.org/forums/showthread.php?t=129384
a Crowes '10 recording, also taped from the front row, will be upped soon there as well. Rich (Robinson) was a monster.
don't listen to the negative Norman's (they have little to no experience recrording from the front row as is)
just DO it, keep your gain low (if possible), and rock out with your c*** out!!!!
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I never taped from front row, but close to. From my own experience, clubs often mix in mono. That means you'll get a poor balance if taping from front row or close to a stack. Arenas often mix in stereo.
In most situations, I wouldn't tape from front row. Sound tend to get better if you can move a few rows back until you reach a point where you lose clarity and definition. Depending on what kind of act you're taping, you might get barely audible vocals when taping front row.
But pulling a good sounding tape relies on soooo many factors : your taping spot, your mics, venue PA and speakers setup, sound guy, high vs low ceiling, concrete vs brick walls, ...
You were talking about Rammstein I think ?
Well, that must be an arena gig. I'd suggest you to get a seat in the tier (if available), near to a speaker and to point a pair of cardioid mics right at it.
Edit: oh, and always try to mount your mics as high as possible. Shirt/chin level is not high enough. You could do better. ;)
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The guy wants to go to a show with his girl. This is a no brainer. Go to the show and tape from the front row. Have a great time with your girl that will have a great time. And you can pull a great recording, too. Could you pull a great recording somewhere else? Probably. But, recording from the front row can be great, too. Enjoy the show and have a great time.
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taping from the front row works FINE!!!!
listen to the subtle nuance of McCready's guitar that a rig even 10 rows back would have missed:
http://www.thetradersden.org/forums/showthread.php?t=129384
I listened to both Jeremy and Black and the mix is unbalanced. Vocals can sound slightly nebulous at some points while electric guitar is upfront.
Also, the recording sounds distant, echoey and suffers from heavily distorted low end.
Still, you're right : taping from the front row can work FINE. Not this time thought.
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The question is...
Are you going to a show and taking your girlfriend? Or are you taking your girlfriend to a show?
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The question is...
Are you going to a show and taking your girlfriend? Or are you taking your girlfriend to a show?
Shows, girlfriends and taping rarely mix. If all three do you know you've got a keeper... :o even two of three is exceedingly rare.
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taping from the front row works FINE!!!!
listen to the subtle nuance of McCready's guitar that a rig even 10 rows back would have missed:
http://www.thetradersden.org/forums/showthread.php?t=129384
a Crowes '10 recording, also taped from the front row, will be upped soon there as well. Rich (Robinson) was a monster.
don't listen to the negative Norman's (they have little to no experience recrording from the front row as is)
just DO it, keep your gain low (if possible), and rock out with your c*** out!!!!
Too many variables to take in to account, furburger. I don't think 1st row is always optimal, but it can be at times.
We've had a few disagreements on this board in the past, but I do agree a decent tape *can* be made from the front row...
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The guy wants to go to a show with his girl. This is a no brainer. Go to the show and tape from the front row. Have a great time with your girl that will have a great time. And you can pull a great recording, too. Could you pull a great recording somewhere else? Probably. But, recording from the front row can be great, too. Enjoy the show and have a great time.
BINGO! I'd do THIS, if I even taped at all! Taking a GF to a show is one thing, but taping is another beast completely! Especially if this ISN'T her scene and music, or if she's EVER even seen a taper before lol ;) If she's actually COOL with it, then tape from front row and enjoy the show. Period.
IMO if a band has vocals, then taping TOO CLOSE is just a waste of time IMO! The vocals are almost always distant and shitty sounding, while other instruments like guitar/drums are VERY loud in the mix. That said, taping that close can also be AWESOME and AMAZING sounding! Just depends on band/venue/mics/etc........When bands DON'T have vocals though, I actually really like recording on-stage/stage-lip/very close! Like Furburger said, you can pick up nuances of sounds/frequencies that you wouldn't catch being farther back!
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So why does the band these days set their sound guy up beside or on the stage? Because they do not know what they are doing.
Just wanted to reiterate that this comment isn't right. Usually when you see a band with their own sound guy at a board by the stage, he's there to give the band their own stage monitor volumes and mix. The FOH guy, who in my experience more often works for the venue, knows the room and the venues boar, and he/she is mixing for the room and/or the sound that is coming from the PAs.
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Just wanted to reiterate that this comment isn't right. Usually when you see a band with their own sound guy at a board by the stage, he's there to give the band their own stage monitor volumes and mix. The FOH guy, who in my experience more often works for the venue, knows the room and the venues boar, and he/she is mixing for the room and/or the sound that is coming from the PAs.
I'll buy that, in general.
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The question is...
Are you going to a show and taking your girlfriend? Or are you taking your girlfriend to a show?
Shows, girlfriends and taping rarely mix. If all three do you know you've got a keeper... :o even two of three is exceedingly rare.
^^^^^^^ This. QFMFT :smash: :smash: :smash:
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2nd row dead center:
https://archive.org/details/2003-12-05.paf.schoepsmk4v.taraski-bigham.22026.sbeok.flac24
front row lower balcony dead center:
https://archive.org/details/2003-12-05.paf.bk4021.ericv.21013.sbeok.flacf
The 2nd row recording is mine. It was too close and I knew it, but I didn't want to give up the great seat.
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Cool. Curious. The Beacon is a really tough sounding room in the wrong places (and there are lots of those there IME). I'd want to be close if I was doing audio there.
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most small 1000-4000 seated venues now have front fill speakers for the people who spent big bucks to sit in the front center. it used to be those seats only heard the stage sound which had low vocals. sometime you can see the front fills at the stage lip, sometimes they are hidden, sometimes on the side. the only problem is that i don't know how much effort is put into making them song good. i am not sure who is responsible for their mix. during the show, the foh mixer can't hear them and neither can the monitor mixer. i have been to some venues where they only put vocals thru them. but that being said, i have made some excellent recordings up front. there is a venue in dc, lisner auditorium. i was there last year on the side front row. i noticed nobody was sitting front row center, so i moved there. they had the front fills hidden under to stage facing the front row. the sound was incredible. you could not see the speakers, but you knew something was up. as far as getting caught, you can't look at your recorder. you have to set and forget. security will never see the mics. your girlfriend will never see the mics.
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most small 1000-4000 seated venues now have front fill speakers for the people who spent big bucks to sit in the front center. it used to be those seats only heard the stage sound which had low vocals. sometime you can see the front fills at the stage lip, sometimes they are hidden, sometimes on the side. the only problem is that i don't know how much effort is put into making them song good. i am not sure who is responsible for their mix. during the show, the foh mixer can't hear them and neither can the monitor mixer. i have been to some venues where they only put vocals thru them. but that being said, i have made some excellent recordings up front. there is a venue in dc, lisner auditorium. i was there last year on the side front row. i noticed nobody was sitting front row center, so i moved there. they had the front fills hidden under to stage facing the front row. the sound was incredible. you could not see the speakers, but you knew something was up. as far as getting caught, you can't look at your recorder. you have to set and forget. security will never see the mics. your girlfriend will never see the mics.
FYI the Front Fill speakers are mixed by the Front of House engineer off a separate aux output. Vocals, keys, the same instruments you tend to find predominant in a bar soundboard. Usually the mix is set during soundcheck and then checked during the first song or two. With tablet mixing it easy to roam the venue and mix your front fills, bar fills, etc in the target locations.
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The question is...
Are you going to a show and taking your girlfriend? Or are you taking your girlfriend to a show?
Shows, girlfriends and taping rarely mix. If all three do, you know you've got a keeper... :o even two of three is exceedingly rare.
QFT!!
If I was the OP - I'd buy a third ticket and tell the girlfriend to invite one her girlfriends so they can enjoy themselves (read: talk all throughout the show) while you the taper are doing your thing in a spot some distance away from them. It's a win-win this way.
And yes - I know this is a very sexist perspective. But it's also true for 90% of the women out there.
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The question is...
Are you going to a show and taking your girlfriend? Or are you taking your girlfriend to a show?
Shows, girlfriends and taping rarely mix. If all three do, you know you've got a keeper... :o even two of three is exceedingly rare.
QFT!!
If I was the OP - I'd buy a third ticket and tell the girlfriend to invite one her girlfriends so they can enjoy themselves (read: talk all throughout the show) while you the taper are doing your thing in a spot some distance away from them. It's a win-win this way.
And yes - I know this is a very sexist perspective. But it's also true for 90% of the women out there.
Best idea yet. My ex was actually really good about it. Just had one flaw, she didn't want to be there until the music started. For many shows she would spend the first 90 minutes hanging in the bar drinking. This made for many shows with a huge bar tab and a completely trashed girlfriend by the end of the show. We both ended up enjoying ourselves.
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If I was the OP - I'd buy a third ticket and tell the girlfriend to invite one her girlfriends so they can enjoy themselves (read: talk all throughout the show) while you the taper are doing your thing in a spot some distance away from them. It's a win-win this way.
And yes - I know this is a very sexist perspective. But it's also true for 90% of the women out there.
I'd want to see your data on that. My SO (female) is very good about staying quiet during recording, and letting me do whatever I need to set up. The only people I've ever had to shush repeatedly have all been dudes.
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If I was the OP - I'd buy a third ticket and tell the girlfriend to invite one her girlfriends so they can enjoy themselves (read: talk all throughout the show) while you the taper are doing your thing in a spot some distance away from them. It's a win-win this way.
And yes - I know this is a very sexist perspective. But it's also true for 90% of the women out there.
I'd want to see your data on that. My SO (female) is very good about staying quiet during recording, and letting me do whatever I need to set up. The only people I've ever had to shush repeatedly have all been dudes.
Let me caveat this by saying I only ever work in >:D mode. And that might lend itself to my experiences being different than yours.
The point that I was trying to make is that, as a general statement, when women are together at a show - they love to talk. I hate to make assumptions, but I'm guessing you're not a woman, so the dynamic between you and your significant other (female) doesn't really speak to that point. And as far as her being quiet during the show and letting you do your thing - I say you're a very lucky man.
I don't know what to say about you only ever having to shush men and never having to shush women at shows. I don't normally ever shush anyone, because as I noted, I'm normally in >:D mode (although unless they are really being obnoxious, I probably wouldn't anyway). Hopefully others can chime in with their experiences and provide you some "data."
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Past few shows I've taken my girlfriend to (that weren't open taping situations) I didn't even bother letting her know I was recording. Worked out best for everyone that way ;D She's a real trooper to endure as many shows as I drag her to with ridiculous amounts of equipment (which she helps carry)…
A keeper, for sure :cheers:
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Past few shows I've taken my girlfriend to (that weren't open taping situations) I didn't even bother letting her know I was recording.
My wife knows about my addiction ... and also knows there's no way in a million years that I would ever pass up a chance to tape.
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Sounds like your anecdotal sexist perspective is anecdotal.
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Set your priorities. Romance > recording.
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I would say, go to the show and have a good time.
Set your recorder before you get up front and just let it run.
Forget it's even there and just enjoy the show and your girlfriend.
After the show you will have a great memory. And if you are lucky, you might even have a nice recording to go with it.
If the recording doesn't come out perfect, so what. If it comes out horrible, then just chalk it up to a learning experience.
To this day, I am kicking myself for not recording a show I was at near the barrier. I heard so much nuance from the guitar player's monitor it was amazing.
Unfortunately I was still new to taping back then, and only had a crappy microcassette recorder, and had no blanks that day.
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Furthur 1st row Red Rocks all 3 nights: They had front speaker fills on stage. One was pointed directly at me. Each night has a different person amp on stage pointing at me. Bummer I had to stand in one place all night. Wife was next to me and knows not to talk. She was trying to take everything in from front row. Very different experience then back in the crowd. One thing good was I could stand about 1-2 feet infront of everyone else and crowd noise is coming from in back of me not from all sides. Has head of security next to me one night and he knew I was taping and did nothing.
Furthur 1st row Red Rocks
https://archive.org/details/furthur2010-09-24.dpa4022.phil_er_up.109974.flac16/Furthur2010-09-24_D101.flac
here is the OTS section from RR:
https://archive.org/details/Furthur?and[]=date:2010-09-24*
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I've recorded big stages from the front row where they have speakers to "fill" the dead space not covered by the PA stacks. I've pulled some pretty sick recordings this way. Otherwise go back into the mouth of the beast and you'll capture what you really came for.
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I listened to both Jeremy and Black and the mix is unbalanced. Vocals can sound slightly nebulous at some points while electric guitar is upfront.
Also, the recording sounds distant, echoey and suffers from heavily distorted low end.
Still, you're right : taping from the front row can work FINE. Not this time thought.
clearly, you were listening to the official PJ soundboards for that assessment.
the guitar SHOULD sound upfront, I was 4 ft. from Mike McCready.
the low-end is distorted???
I can hear both the drums clearly and Jeff's fingers not only hit the strings, but the actual notes he's playing vs. "arena rumble".
who wants to listen to Eddie Cheddar clearly anyways?
how can a show recorded from the front row sound "distant"?
the entire crowd was *behind* me. the onstage amps were less than 20 feet away.
perhaps you have your speaker wires crossed.
or just bunk speakers to begin with.
and it's "though", not "thought".
just so you know.
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Dude you have long since demonstrated suspect hearing.
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and it's "though", not "thought".
You obviously can't teach me how to get a great sounding tape, but at least you can help me improve my english a bit. Thank you.
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how can a show recorded from the front row sound "distant"?
This is a total newbie question.
And it shows. ;)
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Dude you have long since demonstrated suspect hearing.
um, sure, whatever.
would I want ALL of my recordings from the front row?
NO, because it's a 'different' kind of sound....but if you dig McCready as much as I (and others) do, this show is a treasure.
"front row sound" depends *where* in the front row you are....and even moreso the *size* of the venue. (at least in my experience)
which leads into.....
This is a total newbie question.
And it shows. ;)
not at all.
first, this recording is NOT 'distant' sounding; not in the slightest.
so posing that "question" in regards to such is utterly asinine.
if anything, it sounds like you're right in McCready's amp, yet with all of the other instruments (including vox) adequately represented. (the bassline in "Elderly Woman", you can hear the "bum bum bum" of the notes Jeff is playing, Stone is right there (strumming the acoustic), the drums are snappy, and Eddie is loud and clear)
it's so clear you can hear Mikey's fingers drag on the strings ("Nothing As It Seems" is a perfect example of such, listen to how his lead guitar cuts right thru the ambient noise, and the textures that result from said taping position)
this *directly correlates* to my position, that being right in front of Mike.
maybe I should have clarified "how can someone say *this particular* front row recording sounds 'distant'"?
yeah, I have front row recordings where there can be a 'distant' sound, and that location is DFC in an arena or stadium. all drums, little guitar, and the PA above head.
when to the left or the right, a distant sound *for Luther only* on my Tacoma '10 Crowes recording. Rich is 'in your face', and Luther sounds 'far away', but that's it. all the other members are plenty loud.
Reno '96 Crowes is another (front row, right in front of Marc)....it's ALL Marc, and very little Rich (the panning during "Black Moon Creeping" makes this quite clear)
but Seattle '96, 4 nights later, front row, Rich's side (in the corner), and it was ***perfectly balanced***
so, back to my original point....how can anyone say this PJ '00 Nawlins show sounds 'distant'.
if one concludes that, then clearly they have the hearing problem.
and it shows.
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how can a show recorded from the front row sound "distant"?
This is a total newbie question.
And it shows. ;)
Maybe it was the last row?
http://www.dimeadozen.org/torrents-details.php?id=587758
Location: Upper right balcony, back row, up against the wall
Recorded & transferred by: Steve "ballsdeep" Hagar
Mastered by: Dennis Orr
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So defensive! :tomato:
I mean, if you really want to hear the guitar, just run an IEM feed. Then you don't get the "OH MY DOUBLE FUCKING GOD" from the front row nuts like on the sample I listened to.
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So defensive! :tomato:
I mean, if you really want to hear the guitar, just run an IEM feed. Then you don't get the "OH MY DOUBLE FUCKING GOD" from the front row nuts like on the sample I listened to.
Running IEM requires a bit of dough and technical abilities though ;D
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So defensive! :tomato:
I mean, if you really want to hear the guitar, just run an IEM feed. Then you don't get the "OH MY DOUBLE FUCKING GOD" from the front row nuts like on the sample I listened to.
Running IEM requires a bit of dough and technical abilities though ;D
It is a little trickier than running internal mics.
Although somebody running 4 sets of recorders all with internal mics should be able to pull it off.
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It is a little trickier than running internal mics.
Although somebody running 4 sets of recorders all with internal mics should be able to pull it off.
Seriously? Someone with four decks, and no mics, is going to spend the time to align all 4/8 tracks, assuming everything goes perfect? The value of my time is worth more than a cheap mic pair, with one deck (much less than the cost of four decks alone). Even if you get pristine pulls, if you do not spend the time in post, you gain nothing.
I do not expect to change your mind, after at least four years: http://taperssection.com/index.php?topic=160873.0 (http://taperssection.com/index.php?topic=160873.0), but that method is far from ethical, and not related to the topic.
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It is a little trickier than running internal mics.
Although somebody running 4 sets of recorders all with internal mics should be able to pull it off.
Seriously? Someone with four decks, and no mics, is going to spend the time to align all 4/8 tracks, assuming everything goes perfect? The value of my time is worth more than a cheap mic pair, with one deck (much less than the cost of four decks alone). Even if you get pristine pulls, if you do not spend the time in post, you gain nothing.
It sounds much better if you run it through a Kenwood home stereo for EQ. That's all the post production you need!
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It sounds much better if you run it through a Kenwood home stereo for EQ. That's all the post production you need!
Are you saying that all the tracks magically align themselves? Granted, I know nothing about IEM, other than the what I read from the other link I found doing a Google search, but how can you possibly mix 4 sources without spending time in post?
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It sounds much better if you run it through a Kenwood home stereo for EQ. That's all the post production you need!
Are you saying that all the tracks magically align themselves? Granted, I know nothing about IEM, other than the what I read from the other link I found doing a Google search, but how can you possibly mix 4 sources without spending time in post?
I'm being VERY sarcastic, as furburger frequently talks about running four Tascam 2D recorders with internal mics.
In regards to IEM recordings, yes there's a lot of post-production work that goes into mixing and making a final product. Multitrack recorders help a lot (as you can imagine).
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how can a show recorded from the front row sound "distant"?
This is a total newbie question.
And it shows. ;)
Maybe it was the last row?
http://www.dimeadozen.org/torrents-details.php?id=587758
Location: Upper right balcony, back row, up against the wall
Recorded & transferred by: Steve "ballsdeep" Hagar
Mastered by: Dennis Orr
and even that one came out sounding fine.
same with my Ann Wilson show.
So defensive! :tomato:
I mean, if you really want to hear the guitar, just run an IEM feed. Then you don't get the "OH MY DOUBLE FUCKING GOD" from the front row nuts like on the sample I listened to.
IEM's suffer from dropouts, and an even more elitist "traders circle" than the dattitudes of the '90's.
one mans trash (screams: you) is another mans treasure (screams: memories for me)
I actually prefer the 'flavor' of occasional crowd noise to that of sterile mic-stand recordings.
to each their own.....
I'm being VERY sarcastic, as furburger frequently talks about running four Tascam 2D recorders with internal mics.
? ? ? ? ?
I just acquired my 3rd DR-2D in Feb, *though I do have 4 decks*, I usually run the 2 Tascams with internals either from the balcony or onstage, sometimes one with the Sonics. then there's a Zoom h4 and an Edirol R-09....which can be placed in different areas or used as backup.
I would dig having 4 DR-2D's and running all of them though.
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all business during shows unless I'm doing patch-outs from a soundboard and things are running fine. Not a mic-stand taper myself (generally specialize in the wireless taping field) but would certainly do it if that yielded the best result at a particular show.
Sorry--misread your previous posts. Erroneously equated "taped with four decks" to "taped with four Tascam 2D internals". So you just place the decks and specific places around the venue and then pick up later, and then listen to the general best one?
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Sounds like you make tapes that you love. Good going. :coolguy:
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For sure.
Not that there's anything wrong with that.
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all business during shows unless I'm doing patch-outs from a soundboard and things are running fine. Not a mic-stand taper myself (generally specialize in the wireless taping field) but would certainly do it if that yielded the best result at a particular show.
Sorry--misread your previous posts. Erroneously equated "taped with four decks" to "taped with four Tascam 2D internals". So you just place the decks and specific places around the venue and then pick up later, and then listen to the general best one?
I've gotten to placing the internals decks right onstage with low gain (levels between 88 and 92), which produces a pretty interesting sound (Kevn Kinney in '13 in Atlanta was like that, two decks on stage, then two more in the back of the room, one used with Sonics, the internals were very instrument heavy, whereas the back of the room had a pretty well-balanced sound). always wanted to try and run a matrix with those, possibly 4 channel, but figure that's something for my 60's....
have taped the Sonics to a balcony railing, to a back wall, to the vidcam tripod on a stick....every new venue creates a new set of challenges (for the video, vibration and rock shows is a huge issue)
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Don't be embarrassed its 2017.
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all business during shows unless I'm doing patch-outs from a soundboard and things are running fine.
Almost all the tapers I know are all business during shows. To each his or her own but if I am spending my time and money on taping a show I want more than "doesn't sound bad at all".
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Furby and all -- I've removed the hook-up trash and corresponding responses from the Technical Help section. Feel free to re-post that schlock in the Sewer, if you wish, but do not re-post here. Thanks.
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thank you, Brian!
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+T Brian for taking out the trash and sweeping up.