Jump to content
shadowfax1007

[GUIDE] How to start live audio taping

Recommended Posts

As many of you know, LP’s management haven’t released any DSP’s since South Africa 2012. As frustrating and disappointing as this is, with your help we can still get high quality recordings for everyone to share and enjoy!

Most people reading this would have visited the Live Audio and Video downloads section at some stage and enjoyed the recordings posted here. I wanted to create a thread to explain how people can easily get into the taping scene and make their own quality recordings, regardless of your budget.

 

Here in Australia I ran my own site called BNE Live for a few years. Whilst I have now stopped posting to it, I still record bands on occasion. I’ve gotten an indescribable amount of joy from making my own recordings over the years, I’ve met some great people and I’ve got to record some killer shows which people can listen to at any time!

 

Below I am going to post a basic rundown of what you need to get started. I will focus more specifically on ‘stealth’ or body mounted rigs, rather than open taping rigs.

 

RIG

 

Your rig can include any number of components however generally it will consist of the following:

Microphones > Microphone Power > Recording Device

 

To provide an example, here is the rig I usually use:

 

Audio Technica AT831 (Microphones) > SP-SPSB-10 (Microphone Power) > Olympus LS-10 (Recording Device)

 

I picked up the microphones and the battery box from The Sound Professionals and I got the Olympus LS-10 when I was in Osaka a few years back. All in all, I paid roughly US$380 for this rig. This is by no means the best rig in the world but it certainly produces quality recordings, good enough that one of my recordings was played on national radio a few years back.

 

MICROPHONES

 

The microphones are responsible for 90% of the sound quality of a recording. You can have an amazing preamp and recording device but if you have rubbish microphones, your recordings will sound like rubbish.

There are various options when it comes to microphones but they can be broken down into two main categories: omnidirectional and cardioid. In the simplest of explanations, omni microphones record sound from every direction, whilst cardioid are directional. Each microphone has their own advantages and disadvantages.

 

Omni microphones are great for smaller venues or taping right near a speaker stack. They produce an excellent reproduction of what you are hearing. Omnis however are not ideal for taping when you are far away from the sound source (such as a stadium show). Omnis also pick up noise from around you (think loud crowd and drunks). Some people like this, as it captures the atmosphere of the show and contributes to the recording. I personally don’t like it, as the crowds here tend to be full of drunks and idiots and I don’t like that coming up in my recordings - each to their own however. Omnis are considered to be great beginner microphones as they are very forgiving.

 

Cardioids are great for mid to large sized venues, festivals and stadium shows. Since cardioids are directional, they pick up the sound from the direction they are pointed. At a festival show for example, you can be stuck halfway back in the crowd and still pick up a great recording if your mics are positioned towards the speaker stacks. Cardioid mics also have different patterns, such as subcardioid and hypers, which change how focused the directional recording is.

 

Now for some microphone recommendations:

 

Church Audio CA-10 (Omni)

Church Audio CA-11 (Cardioid)
Church Audio CAFS (Omni)

 

People swear by Church Audio gear. Chris Church operates primarily out of the Tapers Section forums and makes quality handmade gear. He often has sales on his gear and also sells package deals. I used some Church Audio CA-1’s back when I started out, they were great microphones but I don’t believe Chris makes them anymore. I broke my set and ended up buying something else though.

 

Audio Technica AT831 (Cardioid)

 

These are the microphones I use now and I love them. They have changeable microphone capsules, however I think they are a bit harder to find now. I know I was able to make some capsules from some AT853’s work with them though.

 

Sound Professionals BMC-1 (Omni)

 

This is a budget microphone but don’t let it fool you. I bought a set of these for shows when I need to be super stealthy, or I’m worried about ruining microphones (bad weather, rough crowds etc). I’ve made some great recordings with them (including the 24.02.2013 LP show) and I recommend them to people on a limited budget.

 

MICROPHONE POWER

 

To make quality recordings, your microphones need power to operate optimally. Many recording devices don’t provide power to your microphones, and the ones that do don’t provide enough power to fully power your microphones. Whilst operating without a power supply can work in a pinch, 9 times out of 10 it will just leave you with dull sounding and distorted recordings.

 

There are two main options when it comes to microphone power: battery boxes and pre-amps.

 

The majority of tapers I’ve met and spoken to use pre-amps. Pre-amps supply the power required for your microphones and allow you to increase gain. This is often beneficial in quiet venues or acoustic shows where you need a bit of a boost to pick up the sound.

 

I personally use a battery box as I am rarely ever in a situation that requires a pre-amp. Battery boxes simply supply the power to your microphones and as a result are much cheaper.

 

Some recommendations:

 

Church Audio Ugly (Pre-amp)
Church Audio 9100 (Pre-amp)

Sound Professionals SPSB-10 (Battery Box)

 

Most people use Church’s pre-amps and for good reason. They are great quality, well made and with all the necessary features. If you’ve got the money, get one.

 

If you are on more of a budget, a battery box will do you just fine and the SPSB-10 is a great choice. It’s the battery box I use, it’s tiny and its cheap!

 

RECORDING DEVICE

 

This is the final piece to your rig. A recording device takes the signal from your microphones/preamp and stores it on the device. Back in the day, tapers used to use mini-disc recorders, which required you to carry multiple discs, change discs mid-set and were just awful to use. Thankfully technology has come a long way and you can store everything digitally on tiny devices.

 

There are literally tons of options when it comes to recording devices, however you want to look for three main features: Line In, Lossless recording (such as WAV) and storage space.

 

Line in is important as it means your recorder will store whatever is sent to it, without altering the signal. Many recorders have a Microphone In port that will send the signal through the recording devices own pre-amp. Whilst this can work, often it introduces noise and/or distortion and is better to just be avoided.

 

Lossless recording is important to ensure your recording isn’t compressed. If your recording device records to 192k MP3 only for example, you will lose a lot of the dynamics of the recording and have next to no noise floor to work with, leading to distortion in most cases. In other words, an ugly recording. My LS-10 allows me to record in 24/48 .wav - some people consider this to be overkill but it is always better to record higher quality and downsample, then it is to try and improve something that was recorded at a low quality to begin with.

 

Storage space is essential. On average most shows I record are around 2 hours in length and result in a 2gb file. File size is going to vary depending on the quality and file format you record in, but use those figures as a benchmark. You will want to have enough storage to record what you want. For example 4gb will be plenty in most cases to record a support band and headliner. If you are recording a whole day festival, you will want more.

 

Some recommendations:

 

Sony M10

Roland R05

Tascam DR40

 

I personally haven't used anything other than my Olympus LS-10 (which is great) but all these options are well regarded in the taping community. Find a store near that that stocks recording devices and go play around.

 

RIG SUGGESTIONS

 

The Tapers Section forum has a thread dedicated to what gear to get with what budget, however here are a few suggestions of my own:

 

Super Budget Rig

SP-BMC-1 > SP-SPSB-11 > Tascam DR07MK2 (TOTAL: US$239)

 

Budget Rig

CA 11 > CA 9100 > Tascam DR07MK2 (TOTAL: US$407)

 

Money to Spare Rig
CA 14 (omni/card set) > CA 9100 > Tascam DR40 (TOTAL: US$528)

 

These are obviously just suggestions. Audio is a very subjective topic, each person has their own preferences, budgets and ideas. Look around and find something that suits your budget and situation.

 

My next suggestion if you're just starting, buy used! Who cares if a microphone is missing a bit of paint, or the case of a pre-amp has a scratch or whatever, if it works, use it!. If you can save a bucket load of money, then go for it. Try places like eBay, manufacturer refurbished gear or second hand sales on the Tapers Section forums.

RESEARCH

 

Take all of the above for what it is, a very basic overview of live music taping. There are literally thousands of options when it comes to gear. Everything I’ve covered has really only been about ‘stealth’ taping and not open taping. Lots of bands allow open taping, where you can bring in your own stands, large microphones, recording rigs and more. If bands you want to tape allow open taping, great! Look into it because you can get incredible recordings this way.

 

Taping seems overwhelming and confusing at first, everyone who tapes now has been in your position before. My advice is to research! Read everything you can, ask questions when talking to other tapers, experiment with gear and find out what you like. There is no right or wrong when it comes to developing your rig. I spent a solid 6 months researching before I even made my first recording. I even did some music production classes at my university. Obviously this isn’t necessary but the point I'm making is that knowledge is power. The more you know, the more you can do and your recordings will benefit from it.

 

Once you have a rig, get out there and tape some shows. Spend a few weekends at local bars and record whatever band is playing. Experiment with venue sizes, setting your levels on your gear, learn how your position affects the sound of your recording. Don’t be afraid to make mistakes, in fact your first recording will more than likely be a distorted mess. Every taper has been where you are now.

 

The best place to learn in my opinion is The Tapers Section forums. Like any forum, look around first and read the threads that are already there before asking any questions, chances are your question has been answered before. Don’t worry though, the TTS community on a whole are patient, friendly and happy to help other tapers. They also have a buy/sell section where you can pick up great gear!

 

LEGAL STUFF

I won't go in depth about this, because every state and country has different laws on taping. My advice is to be sensible though, if a band/venue is specifically anti-taping either don’t record or don’t complain if you get caught.
In my experience, most bands are more than happy to let you record if you ask them. This works much better with smaller bands, who might want the exposure, or a copy of your recording or you can even swing them all a beer each in exchange for permission. The worst they can say is no!

Larger bands are more difficult to get permission, but you can often google around and find out what their policy is. Dave Matthews Band is a classic example of a band with a totally open taping policy. When it comes to Linkin Park, I think the general consensus is the band is ok with it. I’m not going to bother finding the sources for this, but I can’t remember one recording which has caused drama with the band. With larger artists, I’ve often had success finding out who their manager/label is and sending them an email explaining what I want to do. Again, the worst they can say is no.

 

If you do get in trouble with a band or at a venue, the best approach is to apologise straight away. There is no point fighting it and being an idiot, because you’ll just dig your hole deeper. Apologise, offer to delete the recording and do so in front of them and then just walk away. Find out your local laws and know your rights, but generally without permission you don’t have much of a legal leg to stand on.

 

My other advice is to keep copies of any interactions with a band regarding permission. This might seem excessive but it’s saved my ass before. I was taping a few years back for an artist I regularly record. The support band approached me before the show and asked me to record their set for them, which I happily did. We exchanged email addresses and I sent them the show a few days later. I kept the various emails exchanged between us. A few weeks later I got a message from their manager who was threatening legal action. I explained I had permission but he said no such permission was ever given. Things got heated but he eventually backed down when I showed him the emails and told him I’d gladly go to court if he wanted to. Long story short, the band had taken my recording and wanted to release it but were trying to cut me out of the loop, attempting to take recording credit as their own and screw me over in the process. If they had simply said they wanted me to record for a commercial release, that would have been fine, there was no need to be malicious about it.

 

This was one bad experience out of the hundreds of recordings I’ve made, so don’t let it scare you. Just be mindful of your local laws, keep records and get permission wherever possible or print out a bands taping policy and keep it with you.

 

FINAL NOTES

This is a very basic overview to give people an insight into what's involved and a rough cost. I know people will post here and say that I’ve missed discussing certain things like post-production or that I haven’t covered open taping or that my recommendations aren’t what they’d recommend. That’s honestly ok, but I want to go back to my key point, which is to research. This guide is simply a rough overview to get fellow Linkin Park fans inspired to get out there and make some recordings now that we don’t have DSP’s anymore.

 

Don’t get overwhelmed or scared with taping, as I said before it can be a load of fun and you meet some great people but most importantly, you’ve got a fantastic recording that people can listen to for years to come!

 

I'd love to see more people get out there and record Linkin Park shows.


NOTE TO THE MODS: I know this isn't specifically a Request or a Download thread but I hope that you don't delete it or maybe you could even pin it. With the DSP situation how it is, fan recordings are our best chance at hearing the shows and even if this thread only gets one more person taping, it's one more tape we didn't have and I'd consider it a success.

 

 

ADDITIONAL NOTES FROM COMMENTS:

 

 

Wholeheartedly agree on this one.

 

The only conversations I won't condone is how to get gear into the venue through security. That's all got to be figured out on your own. I can't recommend Taper's Section more as a great place to learn, though some people can be a bit picky when it comes to discussion of stealth recording. It's also the best place to pick up used gear. Definitely doesn't get better than Chris Church's stuff IMO. I bought from Chris religiously when I was first getting into taping and there's no one better to deal with. I've owned the CA-10s/11s, CAFS, his 9100 preamp and the CA-Ugly preamp. All served me very well.

 

A few points I'll add:

 

Location:

 

The first rule of taping, particularly for audio is location. Location, location, location. Keep in mind that during soundcheck, they're setting the mix to sound good from FOH (front of house, more commonly known as the sound board). The closer you are to this location, the more your recording will sound like it was intended to be heard by those at the show.

 

Alternatively, you can choose to stack tape, which is taping near or directly in the line of sight of the speaker stacks. While not my favorite way to tape (bring ear plugs), you'll cut down on some of the crowd noise, screaming and clapping this way. Works best with cardioid type mics, IMO.

 

Mic placement:

 

The higher, the better. You'll want them to be at least shoulder level, if not higher. The higher they are, the less chance you'll have of taping the conversations of the people around you.

 

Stereo separation is also based on mic placement, particularly for recordings with omni mics. If at all possible, there should be a barrier between the mics. I preferred to mound my mics just above my ears on a cap or my glasses, where my head serves as a natural separator.

 

Extra supplies:

 

There's nothing worse than expecting to tape a show only to have your batteries run out halfway through or find that your SD card is full. Bring an extra or two.

 

 

Pinning this topic.

 

There's a few more things I'd like to add to this:

 

Location: While FOH usually has the best sound it's not always the best spot. Usually further back from the stage people tend to talk a lot more and crowd noise is louder because FOH is also pretty far away from the front speakers. Bigger shows that have more speakers stacks in the back are placed behind the FOH.

Before the band starts observe the people around you and try to move away from loud people. I'd also suggest to move around during recording (between songs) when you notice very loud people around and it's possible to move to a different spot. That only works for standing of course.

 

Avoid taping from the front row, the sound is crap there. Also if you are standing try to be as much in the center as possible. Sometimes instruments are panned to one side.

 

Gear: You need to test it as often as possible before the real deal. You learn a lot from experience, learn how your gear works to get it set up as quickly as possible.

 

Taping: I'd highly recommend not to sing, clap etc. into your own recording. You don't want that to happen. You get enough of that from the people around you. And I guess no one likes to hear their own voice in a recording haha. Depending on your mics and how they are placed headbanging and jumping is also not recommended. It's worth it if you want to get a good recording.

Taping AND having fun just doesn't work out.

 

If you have the recording space and battery, start your recordings early so you don't miss anything from the intro.

 

One more thing I do, which depends on your recorder and mics I guess, either turn off your phone or set it to flight mode! To avoid interference from you phone in your recordings, that stuff is impossible to remove afterwards. Cell phones from people around you usually don't interfere.

 

About the legal stuff: While the bands seems ok with it or just doesn't care because they get recorded all the time anyway. The security and label doesn't like it. The label doesn't do anything about "bootlegs" which is great but officially they don't allow any taping at shows.

Edited by shadowfax1007

Share this post


Link to post
Share on other sites

Holy crap this is so fucking interesting, I would read the whole thing soon, I just read that some of your recordings were played on radio, that's great and the trouble that you had with a band, heeavy shit :P

 

could you please share some of your best recordings? (2 or 3 tracks would be fine)

Share this post


Link to post
Share on other sites

Holy crap this is so fucking interesting, I would read the whole thing soon, I just read that some of your recordings were played on radio, that's great and the trouble that you had with a band, heeavy shit :P

 

could you please share some of your best recordings? (2 or 3 tracks would be fine)

 

Sure, I imagine I could find a few favourite tracks to post.

Share this post


Link to post
Share on other sites

 

NOTE TO THE MODS: I know this isn't specifically a Request or a Download thread but I hope that you don't delete it or maybe you could even pin it. With the DSP situation how it is, fan recordings are our best chance at hearing the shows and even if this thread only gets one more person taping, it's one more tape we didn't have and I'd consider it a success.

Wholeheartedly agree on this one.

 

The only conversations I won't condone is how to get gear into the venue through security. That's all got to be figured out on your own. I can't recommend Taper's Section more as a great place to learn, though some people can be a bit picky when it comes to discussion of stealth recording. It's also the best place to pick up used gear. Definitely doesn't get better than Chris Church's stuff IMO. I bought from Chris religiously when I was first getting into taping and there's no one better to deal with. I've owned the CA-10s/11s, CAFS, his 9100 preamp and the CA-Ugly preamp. All served me very well.

 

A few points I'll add:

 

Location:

 

The first rule of taping, particularly for audio is location. Location, location, location. Keep in mind that during soundcheck, they're setting the mix to sound good from FOH (front of house, more commonly known as the sound board). The closer you are to this location, the more your recording will sound like it was intended to be heard by those at the show.

 

Alternatively, you can choose to stack tape, which is taping near or directly in the line of sight of the speaker stacks. While not my favorite way to tape (bring ear plugs), you'll cut down on some of the crowd noise, screaming and clapping this way. Works best with cardioid type mics, IMO.

 

Mic placement:

 

The higher, the better. You'll want them to be at least shoulder level, if not higher. The higher they are, the less chance you'll have of taping the conversations of the people around you.

 

Stereo separation is also based on mic placement, particularly for recordings with omni mics. If at all possible, there should be a barrier between the mics. I preferred to mound my mics just above my ears on a cap or my glasses, where my head serves as a natural separator.

 

Extra supplies:

 

There's nothing worse than expecting to tape a show only to have your batteries run out halfway through or find that your SD card is full. Bring an extra or two.

Share this post


Link to post
Share on other sites

Wholeheartedly agree on this one.

 

The only conversations I won't condone is how to get gear into the venue through security. That's all got to be figured out on your own. I can't recommend Taper's Section more as a great place to learn, though some people can be a bit picky when it comes to discussion of stealth recording. It's also the best place to pick up used gear. Definitely doesn't get better than Chris Church's stuff IMO. I bought from Chris religiously when I was first getting into taping and there's no one better to deal with. I've owned the CA-10s/11s, CAFS, his 9100 preamp and the CA-Ugly preamp. All served me very well.

 

A few points I'll add:

 

Location:

 

The first rule of taping, particularly for audio is location. Location, location, location. Keep in mind that during soundcheck, they're setting the mix to sound good from FOH (front of house, more commonly known as the sound board). The closer you are to this location, the more your recording will sound like it was intended to be heard by those at the show.

 

Alternatively, you can choose to stack tape, which is taping near or directly in the line of sight of the speaker stacks. While not my favorite way to tape (bring ear plugs), you'll cut down on some of the crowd noise, screaming and clapping this way. Works best with cardioid type mics, IMO.

 

Mic placement:

 

The higher, the better. You'll want them to be at least shoulder level, if not higher. The higher they are, the less chance you'll have of taping the conversations of the people around you.

 

Stereo separation is also based on mic placement, particularly for recordings with omni mics. If at all possible, there should be a barrier between the mics. I preferred to mound my mics just above my ears on a cap or my glasses, where my head serves as a natural separator.

 

Extra supplies:

 

There's nothing worse than expecting to tape a show only to have your batteries run out halfway through or find that your SD card is full. Bring an extra or two.

 

 

Thanks Nick, I knew I missed a few key things.

 

Honestly though to everyone who reads this thread, it's not as intimidating as it sounds. There is a bit to learn at first, but you pick it up through experimentation and learning from your mistakes. It can be a really fun and rewarding hobby. Feel free to ask any questions you might have.

Share this post


Link to post
Share on other sites

Pinning this topic.

 

There's a few more things I'd like to add to this:

 

Location: While FOH usually has the best sound it's not always the best spot. Usually further back from the stage people tend to talk a lot more and crowd noise is louder because FOH is also pretty far away from the front speakers. Bigger shows that have more speakers stacks in the back are placed behind the FOH.

Before the band starts observe the people around you and try to move away from loud people. I'd also suggest to move around during recording (between songs) when you notice very loud people around and it's possible to move to a different spot. That only works for standing of course.

 

Avoid taping from the front row, the sound is crap there. Also if you are standing try to be as much in the center as possible. Sometimes instruments are panned to one side.

 

Gear: You need to test it as often as possible before the real deal. You learn a lot from experience, learn how your gear works to get it set up as quickly as possible.

 

Taping: I'd highly recommend not to sing, clap etc. into your own recording. You don't want that to happen. You get enough of that from the people around you. And I guess no one likes to hear their own voice in a recording haha. Depending on your mics and how they are placed headbanging and jumping is also not recommended. It's worth it if you want to get a good recording.

Taping AND having fun just doesn't work out.

 

If you have the recording space and battery, start your recordings early so you don't miss anything from the intro.

 

One more thing I do, which depends on your recorder and mics I guess, either turn off your phone or set it to flight mode! To avoid interference from you phone in your recordings, that stuff is impossible to remove afterwards. Cell phones from people around you usually don't interfere.

 

About the legal stuff: While the bands seems ok with it or just doesn't care because they get recorded all the time anyway. The security and label doesn't like it. The label doesn't do anything about "bootlegs" which is great but officially they don't allow any taping at shows.

Share this post


Link to post
Share on other sites

One more thing I do, which depends on your recorder and mics I guess, either turn off your phone or set it to flight mode! To avoid interference from you phone in your recordings, that stuff is impossible to remove afterwards. Cell phones from people around you usually don't interfere.

 

Forgot about this a couple of times myself!

Share this post


Link to post
Share on other sites

Taping: I'd highly recommend not to sing, clap etc. into your own recording. You don't want that to happen. You get enough of that from the people around you. And I guess no one likes to hear their own voice in a recording haha. Depending on your mics and how they are placed headbanging and jumping is also not recommended. It's worth it if you want to get a good recording.

Taping AND having fun just doesn't work out.

 

That's really true! :D I ruined few of my recordings this way. :lol: :lol:

 

Don't get really close to stage because the result will be distorted and you will mostly record the sound from stage (amps, monitor speakers, drum kit), not the house mix. Also don't get too close to PA stacks due to distortion. :D

 

Check your recording levels frequently! Put the key hold on (if this function exists on your recorder) while recording when you recorder is in your pocket/bag, to avoid the accidentally stop/level change/etc. while recording.

Edited by LPMaskMan

Share this post


Link to post
Share on other sites

Really interesting read, I'll definitely be checking out the rest of it. You should update it with some of the points Nick and LPMaskMan had.

Share this post


Link to post
Share on other sites

That's really true! :D I ruined few of my recordings this way. :lol: :lol:

 

Don't get really close to stage because the result will be distorted and you will mostly record the sound from stage (amps, monitor speakers, drum kit), not the house mix. Also don't get too close to PA stacks due to distortion. :D

 

Check your recording levels frequently! Put the key hold on (if this function exists on your recorder) while recording when you recorder is in your pocket/bag, to avoid the accidentally stop/level change/etc. while recording.

I think distortion is more of a gear problem not the distance. Mics have a certain sensitivity limit, if that is reached they distort. This can also damage your mics.

This is why the more expensive mics need battery boxes for more power to handle a louder input.

 

Every professional recorder should have a hold button, this is really essential. Never really had a problem with recording levels since I use the same levels every time, it ends up in a lower gain but I'd rather have a lower gain than distortion cause that's something you cant fix later.

 

shadowfax1007 it would be great if you could add some of our comments to your guide and maybe even a short list of essential do's and don't's

Share this post


Link to post
Share on other sites

shadowfax1007 it would be great if you could add some of our comments to your guide and maybe even a short list of essential do's and don't's

 

Added both yours and NIck's comments. I'll work on a Do's and Dont's list shortly.

 

 

Per Request:

I've uploaded four tracks in a .zip file for people to download and listen to.

 

Here are my notes (from what I remember) on those recordings:

 

First Date - Blink 182 - 22.02.2013

 

This is a perfect example of a bad recording. The concert was held in an open field, at night, in the middle of a raging storm. Wind noise and rain made things bad enough but I was also about hundreds of metres back from the stage. The crowd was 90% drunk and/or high and spent the whole time screaming, talking and fighting. Nothing I could have done would have made this a good recording.

 

One Step Closer - Linkin Park - 24.02.2013

Flew down to Sydney a few days after Blink 182 to record this show. I would class this recording as "Good" quality. Very listenable, with minimal crowd noise, no distortion or other issues. This was recorded with omni microphones in centre stadium. I would have prefered cardioids for this situation but security was tight and I didn't want to risk it, so I took my small omnis.

Words - Kate Miller-Heidke - 30.03.2012

Kate is an incredible artist from Australia who has a quirky pop style that I love. She often tours the US and UK, so if you see she is in town, check out her show! With that said, this show Kate allowed me to set up a stand next to the soundboard. I mounted AT831 microphones with cardioid caps this show. Although I don't listen to it often, this is one of my favourite recordings I've made to date. The quality is great and a song from this recording was played on national radio here in Australia.

Better Way - Ben Harper and the Innocent Criminals - 21.04.2011

This show was billed as Ben Harper and Relentless7, turns out it was a surprise reunion with the innocent criminals! Amazing show and a fantastic recording. This was recording at night, outdoors in a large open walled tent, from in front of the soundboard. From memory I used AT831's with cardioid caps. This is a great example of a recording with a large number of instruments and vocals. It also shows how its important to have your levels set properly when recording, if I was set to high I would most likely have peaked/distorted around the 3:30 mark when Ben Harper starts screaming.

Just again for people to note: All my recordings (excluding the Kate Miller-Heidke one) are made with small body microphones mounted on my person. I don't use large microphones such as Schoeps as open taping isn't really a thing in Australia.

Edited by shadowfax1007

Share this post


Link to post
Share on other sites

 

Why? Security wasn't tight at my M&G? I can't think of how this would affect you?

 

2014 the band has been doing the M&G just before they take the stage. I mean that's not necessarily a new thing...my 2011 M&G was 15 minutes before they took the stage. But 2014 it's 10 minutes or less before show time when you leave the M&G. No time to set anything up and/or get a good spot in the crowd.

Share this post


Link to post
Share on other sites

 

2014 the band has been doing the M&G just before they take the stage. I mean that's not necessarily a new thing...my 2011 M&G was 15 minutes before they took the stage. But 2014 it's 10 minutes or less before show time when you leave the M&G. No time to set anything up and/or get a good spot in the crowd.

Well that's shit. My m&g was a solid 30 before the show lol.

 

If you're super practiced with your gear you might pull it off. But yeah I can see that messing you up.

Share this post


Link to post
Share on other sites

this is a great topic, but I'm curious about what comes afterwards ie sharing out a recording.

 

direct-from-taper sources often come with .MD5s, .DS_STORE, .ffp files etc. what's all that stuff for? and also, don't you have to be careful not to attach any personally identifying info from a file?

Share this post


Link to post
Share on other sites

this is a great topic, but I'm curious about what comes afterwards ie sharing out a recording.

 

direct-from-taper sources often come with .MD5s, .DS_STORE, .ffp files etc. what's all that stuff for? and also, don't you have to be careful not to attach any personally identifying info from a file?

.md5 and .ffp files are what's known as checksums. It's a way to check that you've got the same files as I uploaded -checking that there were no errors/missing bits in the files you downloaded. Its also a way of proving that nothing's been altered, particularly useful when seeding/reseeding a show that's circulated before, If the checksum matches, you can join a torrent immediately as a seeder.

 

As for identifying one's self... Well, these days that's mostly at the discretion of the taper.

Share this post


Link to post
Share on other sites

MD5 checks the whole file, suitable for every data format. FFP is Flac FingerPrint it's checks the audio data integrity in the header of flac file, you can still add tags to flac files without re-checking the hole fileset like normal MD5.

Share this post


Link to post
Share on other sites

MD5 checks the whole file, suitable for every data format. FFP is Flac FingerPrint it's checks the audio data integrity in the header of flac file, you can still add tags to flac files without re-checking the hole fileset like normal MD5.

 

Forgot about the adding tags/ffp part. Good point.

Share this post


Link to post
Share on other sites

ok so it's a verification tool, thank you.

As for identifying one's self... Well, these days that's mostly at the discretion of the taper.


well given that stealth taping's technically illegal..

Share this post


Link to post
Share on other sites

ok so it's a verification tool, thank you.

 

well given that stealth taping's technically illegal..

 

Which is why most tapers identify themselves by a username or initials only.

Share this post


Link to post
Share on other sites

 

Which is why most tapers identify themselves by a username or initials only.

 

of course, yes, but what I mean is, doesn't editing a recording mean you have to do something to the files to 'wipe' any info like "created on xx/xx/xx by X's PC" that gets automatically tagged?

Share this post


Link to post
Share on other sites

of course, yes, but what I mean is, doesn't editing a recording mean you have to do something to the files to 'wipe' any info like "created on xx/xx/xx by X's PC" that gets automatically tagged?

Most filetypes don't have excessive meta information. Exceptions might be photos where the camera tags it with all kinds of data and mp3s. Even if there is that kind of info it can be manipulated pretty easily and is no evidence for anything.

Share this post


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

Loading...

×
×
  • Create New...