[BC] "live" recording

[ebukont at msn.com]

It is funny how the industry has turned over the years.

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When I learned about making records=2C it was very important to always soun=
d live.  Even live shows had to be corrected to sound live.  I was quite th=
e hand at snipping out good applause sections from live shows to mix into o=
ther programs so they sounded live. =20

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The problem was=2C and still is=2C that live sound often gets screwed up by=
  circumstances beyond your control.  Listen to the Simon and Garfunkel soun=
dtrack on CD.  This was at the dawn of the CD age and folks still weren't a=
lways cognizant of background noise=2C that could be masked in vinyl=2C tha=
t would show up on CD.  You know everytime there is a major light change in=
  that concert.

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Most lives shows have a fair amount of correcitve mixing and editing.  On s=
ome of the Bob Seger stuff its fairly noticeable.

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There are just toooooo many things to go wrong in live sound=2C especially =
when you add broadcast and recording trucks taking splits.  Ed Greene was k=
nown for paying as much attention to where all the other cables ran=2C and =
who ran them=2C into a venue=2C as he is for paying attention to his own cr=
ew=20

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Now=2C ironically=2C and thanks in large part to the personal headsets and =
MTV=2C the attempt it to create the studio on the road.  A live album today=
  has to sound like a studio album with applause!!

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You want the sound of the applause fading as you leave the venue=2C=2C=2C=
=2Cmix the whole thing to a subgroup=2C put the applause to another subgrou=
p=2C=2C=2Cbring down the band as you bring down the master and raise the ap=
plause subgroup.  The last thing you hear is the applause as it fades away.=
   Be sure to add some lonnnngg reverb to the applause so it sounds real.

Edwin Bukont CSRE=2C DRB=2C CBNT=20

Commstruction
V- 240.417.2475=3B F- 240.368.1265=20