Set Ups

This section contains handouts for how to set up recording equipment for different areas, from individual instruments to full ensembles.

The above sections are different performance areas for you to choose from, followed by information on how to record in a live or studio setting, then information on how to record in different locations.

If you are new to recording, see the handouts on setting up recording equipment and use them in combination with the handouts for your specific recording area.

When you encounter a term you are unfamiliar with, look for it in the terminology page.

Depending on what you are recording and what you use to record, you will have a different set-up. Where you record also affects how and what you use. For general guidelines see "Live vs. Studio Settings" and "Recording Concerts" below. Select your performance/recording area from the categories above for specific suggestions.

Where you record and what/who you record matter just as much as the equipment that you are using. You can know what equipment to use and what mic placement is "best" for a particular instrument or ensemble, but that doesn't mean that it is going to get you the best results. The space that you have might limit or increase the amount of equipment you use and determine what is best for your particular set-up (think microphone placement). Groups that you can record range from a soloist, a small ensemble (chamber for example), and large ensembles.

Audio vs. Audio/Video:

• Recording audio only can be done with the standard Full Ensemble set-ups in each performance area, with proper adjustments for the space; try experimenting
  • To reduce background noise from concerts, place microphones as close to the stage and as high as possible, try to avoid getting more than a few rows into an audience
  • To get a wider sound, consider lining condenser microphones along the stage
  • If there are problems with the space, try to fix them when mixing and producing audio
• Recording audio and video may require additional microphones (see above), if the space you are recording in is large, and your camera is placed far from the stage
  • May require having external microphones, as having the camera near the audience will pick up a lot of background noise and will not be as focused on the performers

For information about copyright when recording concerts, refer to the information available in the Copyright page.

The acoustics of your hall will affect your microphone placement. Ultimately it is up to you where to place your microphones to get the sound that you want from your ensemble. You also have to take into account the style of music that you will be recording, and the dynamic range of the music. Instrumentation is the biggest determining factor when choosing microphones, how many, their placement in the room, and the technique you use to set them up. It is probably best to have microphones as close to the stage as possible, especially in a live/concert setting to avoid audience noise.

Any gym you go to will probably not be treated for acoustics and it can be difficult to get any sort of good sound from an ensemble. Unless you have sound panels to hang or rugs to dampen the sound of the room, you will probably have to have the microphones close to the ensemble to keep the recording from being echoey. Things to look into are where you place your ensemble and where you are actually able to set up your microphones. Another thing to look into is using a mixing board or sound effects (filters) on your DAW, and adjusting the dynamics of the ensemble to get a more clear sound.

Depending on what you are doing, you have a lot of options. If your students are recording themselves you have to account for the space you have (sound panels, hard surfaces, obstacles) and what equipment you have available for them to use. If you are recording a rehearsal, the same idea comes into play, what are the acoustics like in your room? how big is it? how big is your ensemble/class? All of these questions will determine where you place your microphones, and your editing and finishing process if you have one. If you are recording in your classroom in order to distribute it, you would want the best product, and would make sure that you have the right equipment. If it is your own classroom, you can move things around as you need to get your desired sound.

Recording outside can be a bit tricky because weather will always be a factor, and you might not know what to expect. One of the best things you can do is just ask your colleagues in your area, or go to online forum where people may have the answers are you looking for. If you are amplifying anything, make sure your speakers are spaced apart and not facing any reflective surfaces directly to avoid echoes. When recording with an audience, get microphones as close to the performers as possible to avoid audience noise. The biggest thing you'll have to worry about is the wind, and for that you'll probably need to look into things like windshields for your microphones. If you are able, try to do your recordings in a closed space.

It is possible to set up a practice room into a mini-studio for recording a soloist if that is your goal, or a small enough ensemble, and be able to tweak the room in a way that works for you and your equipment (sound panels, getting rid of corners, placement of computers, microphones, etc.). If you don't have this ability to change things permanently, try to find some "quick-fix" options like portable sound panels and more portable equipment to have a better chance of getting a clean recording.

Soundproofing a room is like creating a sound barrier, not letting any sound go in or out of the room, to improve recording and mixing.

Sound treatment is just reducing the amount of reflective surfaces and corners in the room for easier more accurate recording and mixing.