Here is some quickies.......

[sonusman]

The background to this (since some around here don't know how I do these live recordings)

I do some multi track live recordings while mixing festivals. The multi track recordings are not off the FOH console, so I get raw tracks via seperate pre's with no eq unless I want some going to "tape". I don't have time to optimize mic placement or ask artists to change their sounds, or anything like that. These recordings leave me totally at the mercy of the artists sound and the initial mic placement. I get get about 3-5 minutes to set levels to "tape" and away we go. I generally don't even change the gain unless it is off the map with the a/d converters.

Anyway. On these recordings, I spent about an hour mixing the first song in Sonar 4 Producer edition. All other mixes used the same level/eq/compression settings that song 1 used. So, I took about 2 hours to render all these mixes. Used all Sonitus comps and Sonalksis eq's. The verb is Roomverb M2

Anyway, I just did these mixes so the band could have something to hear to consider buying the raw tracks from me. I didn't think it came out all that bad for a live recording!

http://www.phoenixlightandsound.com/FordBrothers.html

Hurry up, these mixes will be coming down soon off the server.

[sonusman]

Forgot to add that I did a little "mastering" in Wavelab. Same eq/comp/limiting settings for each song.

[sonusman]

Should I stay in "audio school" for now?

[Groovespace]

Hey those sound good. I do our bands engineering and bass playing so I can relate to the place it set it and go routine. The other night I did a live session that was hammering the red zone. I use Vegas on a laptop.

So how many mics did you use on those? Nice crystal highs and a fat kick. Bass is nice and tight with a narrow bandwidth. I like it that way.
Vocals and mid highs have a nice presence that isn't fatiguing.

I like....

[sonusman]

I'll work backwards.

Alesis HD-24 at 24/48

Mackie 32X8. I was reluctant to apply any eq going to tape at all, which included the High Pass filter. I think I only used the HPF on the vocals.

Vocals had Behringer Composer Pro doing about 3-6dB of gain reduction at times to keep decent overall levels.

Bass DI had a Alesis 3630 inserted. Never more than around 6dB of gain reduction. Most of the time not doing anything.

Whirlwind Medusa snake which had a non-isolated split to the monitor console.

Kick - Electrovoice RE-27 n/d
Snare Top - Shure SM-57
Snare Bottom - Sennheiser e604
Rack and Floor Toms - Sennheiser 421
Drum Overheads - Audio Technica 4041 (flat)
Bass DI - Behringer Ultra DI (console supplying phantom power)
Harp - Shure SM-57 micing a Fender Twin Reverb
Guitar - Shure SM-57 micing a Fender Twin Reverb
Vocals - Shure Beta 58

Overall, a fairly "cheap" recording path.