#16
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Quote:
Yes. That’s typical of split snakes. The straight pass through will pass phantom, while any isolated paths won’t. When given the option, I always take the isolated feed for the recording chain & let FOH provide phantom. In your diagram it looks like you have a preamp feeding the split. That was what I was referring to. Preamps should be on the other side of the split snake. IOW all inputs should be: Source > split > preamp. HTH
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-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |
#17
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Oh, haha. Yeah, not a "technically accurate" drawing.
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Website: http://www.buzzardwhiskey.com |
#18
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One thing my old band learned (quickly) about recording w-ambient mics in a live setting that's not a "quiet crowd" environment. Mics placed too close to people inclined to talk/shout over the music can pick up "chatter", that can "overwhelm" the music recorded on those channels. It can be from the crowd, though our first attempt -many moons ago- we got a great recording of our sound and light guys talking off and on...LOL
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“The tapestry of life is more important than a single thread.” R. Daneel Olivaw in I. Asimov's Robots and Empire. Last edited by gmel555; 10-24-2022 at 01:43 PM. |
#19
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I don't know how long the performance is, but it is prudent to put a tail sync reference (clapsticks or clap with hands) at the end of the performance as well as at the head. That way if there is sync drift over time, as happens sometimes with long single takes, you can use the tail sync to pull up and adjust the track to match the picture in editing. This is very easy to do in Final Cut Pro, but I can't speak for other editing systems.
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2003 Martin OM-42, K&K's 1932 National Style O, K&K's 1930 National Style 1 tricone Square-neck 1951 Rickenbacker Panda lap steel 2014 Gibson Roy Smeck Stage Deluxe Ltd, Custom Shop, K&K's 1957 Kay K-27 X-braced jumbo, K&K's 1967 Gretsch 6120 Chet Atkins Nashville 2014 Gold Tone WL-250, Whyte Lade banjo 2024 Mahogany Weissenborn, Jack Stepick Ear Trumpet Labs Edwina Tonedexter |
#20
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Final Cut Pro will be what I use (badly). So thank you! I will do so.
If there is too much audience chatter or it's weird or distracting I'll be sure to cut it out. Good point.
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Website: http://www.buzzardwhiskey.com |
#21
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Here's the video from our concert last night. I had high hopes for multiple angles and so on, but side of things fell through.
https://youtu.be/SHk961JkRS8
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Website: http://www.buzzardwhiskey.com |
#22
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Looks & sounds like it all came together. Nice playing. Congrats!
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-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |