Rerun & the Doobie Brothers Have Ruined Live Recording for an Entire Generation
Author's Note: Let it be known that the material in this article is intended for recreational use only. Attempting to record bands without prior approval is considered nasty, and could get you into a load of trouble. You've been warned .
I'm sure that anybody fortunate enough to suffer through prime time television in the 70's will remember the show What's Happening! The most memorable episode that comes to mind is the one where Rerun sneaks a tape recorder into a Doobie Brothers concert. Half way through their masterful performance, the recorder falls out of Rerun's pocket, the Doobs stop playing and then the moral of the story kicks in. I don't really recall what the moral was, but I do remember that it was rather nasty and put recording shows in a bad light. Much the same way that photographers take pictures at shows to chronicle an event, people who record shows, for the most part, do it for their own personal recreation.
THE RECORDER
Much like purchasing a 4 track, there's a multitude of options.
Sony WMD3 This model looks almost identical to a real Walkman. And like its lower models, it has only a two head design, and the microphone doesn't really have a wide range. Like all the other models that will be mentioned, the D3 has a recording level control knob. Some fancier recorders have separate knobs for the left and right channel, but this just always seemed like a bit too much work for me. Regarding the D3, I never had much luck with them, especially when it was so damned easy to accidentally bump the record switch off. However, for many, this suits their needs just fine. It costs around $300, and like the other machines mentioned, can be found at finer electronic stores. However, for my own peace of mind, I've purchased all of my recorders from J&R Music World in Maspeth, New York. [call 1-800-221-8180 to be sent a free catalog] I do this in large part due to the fact that they've got a very good return policy, a massive selection from inventory, and you can purchase an additional warranty to cover electronic foul-ups.
Sony WMD6 If there is an Econoline van of the portable tape recording world, this would have to be it. It's sturdy, reliable and will last forever. The 3 head design is terrific and, providing that you're not a perfectionist like most, it will suit almost every person's needs. It has select switches for tape type and Dolby, line in/out ports and an attenuation switch. Apart from the Dolby, none of these features are on the wimpier D3. The attenuation switch is of particular importance. If the show is loud (e.g. requires earplugs), the -20dB attenuation helps a lot. For quieter, more acoustic-y shows (sans plugs) the 0dB switch will be the one to go with. The D6 is used more widely than any other recording device on the market. If Whitney, soundman for such bands as the Jesus Lizard, Blues Explosion and Jawbox, uses it to record their shows, that should give you a good idea of how well these machines travel and perform.
Sony WMD7, WMD8 and all other digital recording devices Why get a D7? Because it's one better than a D6! Hoooo! But seriously, I've never been able to figure out the need to record live shows with digital equipment, so my personal knowledge on the subject is rather limited. I do know that with the ever increasing bootleg CD market, DATs are used almost exclusively as master sources. In addition, with regular analog tapes, quality can be lost in two to three generations from the master. With DAT, there's no loss. Big deal. A D7 (or any digital recorder for that matter) will cost almost double of a D6 or similar analog recorder. And if you make copies for fellow traders, you must also remember that you'll need a second DAT machine. Also, you have routine maintenance and additional equipment which could run your total set up cost well over $1,500! For just a hobby, this seems a bit outrageous, so I've never considered entering the digital realm an option. However, information can be sought out cybernetically at the alt.music.bootlegs newsgroup.
MICROPHONES
Although I'm not much of a tech-head like many a Tape Op reader, I do know what works well and what works like crap. Note that there's a countless amount of options when it comes to buying a microphone. With that said, please bear with my lack of big technical words...
PZM (Pressure Zone Mics) For $120, you can buy two of these rather clumsy looking 3 inch square mics [at Radio Shack], and get a pretty good sound. But keep in mind that these aren't very portable and must invariably require a special stand and mount for them. When used together, face them towards the band, slightly upwards and apart from each other. There will be a good bit of stereo separation, but I never found the low end to be that remarkable. In fact, that's why I stopped using these mics about 4 years ago. [If you're recording music that's not full bore loud, and you have access to the stage, try throwing a pair on the floor of the stage, out of the way, and it can sound very good. The mics pick up low end best when they're on a surface and closer to the sound source. See Dewey's Frith/Cutler review this issue and issue #1's PZM article.]
Core Sound Mics I picked these capsule mics on the internet at moskowit@panix.com. And although the microphones themselves are both no bigger than a pencil eraser, they're terribly awkward to use. Also, the version that I purchased cost about $130 which I was told by the manufacturers of the mic would suit my needs just fine. The other version of the mic cost twice as much and contained a preamp which is intended for those with digital recorders. I found the version I purchased to be unbelievably bass heavy almost to the point of being distorted. In the mic's own defense, I will say that it works the best in ambient or acoustic settings. These mics are intended for stealth recording at your bigger U2 or Van Halen concerts where there are security pat downs, but for me, I've never had to hide my equipment.
Headphones I didn't believe it when somebody told me this, but headphones can be used as a stereo microphone. Learn something new every day, huh? Although I have tried these makeshift microphones out of curiosity, they provide unremarkable, tinny sound.
Sony ECM909a This particular microphone is just slightly larger than a tube of lipstick, has a 2 foot cord, and is as reliable as it's D6 counterpart. It requires a AA battery, but allows much fuller sound. There's a toggle switch on the microphone for 90 and 120 degree spreads. Personally, I just stick with the 90 degree setting pointed towards the band slightly upwards. What's more, the 909 is much more convenient to hold or position than anything else I've found.
Ribbon Mics (is it called the 4039?) I saw Bob Weston using one once at a show in Chicago. Suffice as to say, it is the top of the line and it showed when I was listening to the playback. However, these can cost more than a years tuition at the University of your choice. If you've got the dough though, knock yourself out.
RECORDING
OK, so you've got the equipment and you're trying to figure out how the hell to use it. Sorry to use this cliche, but the best way to learn is just to practice. But still, here's some pointers that I've found out along the way.
Huge Clubs (800-2, 000+ capacity) Try to put the microphone as close to the soundman as possible. Usually, the person who is doing sound in such a cavernous place will try to satisfy their ears first and the crowd's second. If you are polite and ask the band for permission (which you should do anyway), you might be able to set everything up at the board. If you're sneaky, you might be ejected from the club and (more importantly) have your equipment confiscated. Like that wouldn't suck. Although I don't intend for this to seem like something exclusive to smaller clubs, sound at larger clubs have always deceived me. Maybe it's due to the noise bouncing off the walls. I dunno.. Find out for yourself, though.
Small Clubs (200-800 capacity) A lot of the times, the PAs at these size clubs are skimpy at best. They often push the drums and vocals up high in the mix, leaving the guitars pushed to the side. A good rule of thumb is to walk around the club and figure out where it sounds good to you. We'll call this the sweet spot. When you find the sweet spot, that is where you'll get the best recording results.
House Shows (0-200 capacity) These are always the most fun shows for me personally, but can sometimes become a real challenge when I'm trying to record. If possible, it's always best to get two places to put microphones. The PA s are almost nonexistent, and drums can seem like light years away unless you have a mic directly over them. So it's best to put a mic above the band (to get the drums & vox) and one in front of the PA (for the guitars, bass, etc.), if possible. Otherwise, just use your best judgment.
I sincerely believe that this information can be of great use not only to people interested in recording bands of interest, but also for use in their own musical endeavors. And as I've often heard said, "If you're going to do something, do it the best you can." As you can see, there's a number of ways to go about doing the same thing, but depending on your desire for "sonic perfection", recording equipment and methods can vary quite a bit. If you have any questions, comments or firebombs to direct towards me, you may do so through Tape Op.
Editor's Note: Notice that Henry didn't mention recording off the mixing board. As many a band knows, tapes made this way can consist of vocals with a bit of drums underneath and virtually no guitar or bass. You get what the soundman is putting through the PA, and it usually sounds like shit. I talked to a fellow last year who was buying a Mackie 1202 to mix the board signal with some live mics to tape his favorite local bands. If done right this could sound pretty good, especially if he has access to a pre-fader send on the PA mixer (which is usually used for monitors.)