M U L T I T R A C K R E C O R D I N G

Introducing engineer BRIGHT

M U L T I T R A C K R E C O R D I N G

M U L T I T R A C K R E C O R D I N G

M U L T I T R A C K R E C O R D I N G

M U L T I T R A C K R E C O R D I N G

Hints and Tips when Recording:

If you are recording as a solo performer on a budget, you
can avoid the expense of buying a separate amp to create a
headphone mix. Plug your headphones into the console’s
headphone connector and use its monitor mix for your
foldback. Alter channel fader levels as you wish to achieve
optimum headphone levels for your performance.
• If your console is not large enough to cope with every
multitrack send and return, connect only as many Direct
Outs as you need per take. For example, if you are
recording solo you will only be recording one instrument at
a time anyway, so a maximum of only two direct outs will
be required for stereo instruments, and one for mono ones.
The same channel direct outs may then be repatched to
adjacent multitrack tape ins to record new tracks. This
should leave enough channels free to monitor all your
recorded tracks.
• If you run out of tape tracks, group instruments together.
For example a fully mic’d up drumkit can be recorded in
stereo to two tape tracks via a pair of groups, or if you are
really stretched you could do this with the entire rhythm
section, including bass and rhythm guitar. However, it is
then essential to mix the balance between the instruments
accurately as, once recorded, they can never be individually
altered again.
• If you have only one effects unit and you need it to create a
variety of different sounds, it may be neccessary to record
the instrument with effects included. Again, remember that
once you have done this there is no going back, so wherever
possible it is best to record “dry” and buy a second effects
unit if you can.

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Monitor Mixing

• It is normal for a telecommunication link to be used
between the FOH and monitor engineer so that they can
talk to each other during the performance.
• Each stage monitor needs its own power amp. Keep
things tidy by using rack-mounted stereo amps.
• Graphic EQs are patched via the console, like the power
amps they should be rack-mounted for easy access.
• If the lead vocalist uses in-ear monitoring, he/she will be
acoustically isolated, so it’s a good idea to feed audience
pick-up mics into his/her mix to provide a sense of
involvement.
• ‘Side fills’ are often used where monitoring is required
over a large stage area, floor space is at a premium, and
too many wedge monitors would simply clutter things up
both physically and acoustically. Don’t compromise on
these speakers - they’ll have to work hard to punch sound
through to the performers.
• The Monitor Engineer’s wedge lets him hear the total
foldback mix or selected parts thereof.
• A good Monitor Engineer, who is “invisible” to the
audience, will always position himself so as to see visual
signals from the performers.

Monitor Mixing

Monitors are used to allow band members to hear
themselves.
When dealing with the monitoring requirements of, say,
a large live band, it is common practice to keep the
monitor mix function totally separate from the Front of
House console.
Some form of graphic equaliser in line with each monitor
speaker is desirable as it allows troublesome frequencies to
be notched out. The monitor system is rung out in exactly
the same way as the main PA and the final ringing out must be done with both the
monitor and main PA systems set at their normal operating
level.The monitoring console is situated off-stage and
derives its feed direct from mic splitters. Note: the Spirit
Monitor 2 console has its own built-in mic splitters.

Recording Live

• Try to locate the mixer in a different room to the
performance to avoid distraction from the live sound.
If this is not possible, use a good pair of noise-excluding
headphones for monitoring.
• Wherever possible, take feeds from mic splitters - this
will provide clean, low-noise signals suitable for
recording.
• Often, Tape Sends are unbalanced, so keep signal paths as
short as possible between output and recorder to avoid
interference.
• If there aren’t enough microphones, use a stereo pair to
pick up the overall sound and the rest to emphasize
individual performers.
• Use a compressor/limiter to avoid overloading the digital
input of the recorder.

Recording Live

Recording Live
In some situations, you may want to record a performance.
Depending on the situation, the feed for recording may
come from the FOH mixer, microphone splitter boxes, or
your own microphones which have been set up alongside
those of the band.
The diagram below shows a typical example of the sound
sources being split between FOH and Recording. The
recording console operates independently from the FOH
mixer.

Cables and Connections

Cables and Connections
Interference and hum can be avoided! A few minutes spent
checking cable runs and connectors pays dividends.
• A balanced audio connection provides low noise operation
by cancelling out any interference in a signal. It does this
by using a 2-conductor mic cable surrounded by a shield.
Any interference picked up will be of the same polarity on
the two conductors and is therefore rejected by the mic
input’s Differential Amplifier.
• Don’t skimp on interconnecting cables - always buy the
best that you can afford. Make sure that all connections are
sound and keep cable runs as short as is practicable.
• A multicore cable and stage box will keep trailing cables to
a minimum and presents a tidy and practical approach.
• If your mixer has a separate power supply unit, keep it well
away from the console.
• Where signal and mains cables must cross, make sure
they’re at 90° to each other. This will help reduce the risk
of hum and noise.
• If the venue has a three-phase supply, don’t share the same
phase as lighting controllers.