Capturing the Groove: Part 1

Assessing Client and Feasibility of the Project

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The production process starts at the proposal and initial discussion with the client. This is where you can gather information to begin forming the shape of the project and to start making some early decisions.

The brief was to produce a 3 track live sampler for the purpose of improving band profile with a view to booking more gigs outside the local area. 5 piece funk covers band with local live experience.

On first meeting the client, I try to gather some initial information such as timescale, performance/recording experience and project aims as well as any budget limits.

Is the band experienced playing to a click? What equipment do the band play? Instrumentation?

A lot of this can also be confirmed at a rehearsal visit, where I can begin to form a picture of the recording process.

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Building the Picture

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How do the band work together? What communication goes on between players? Would limiting this affect performance? What sacrifices am I going to have to make in order to maintain quality of performance and client comfort within a comfortable budget?

The band were all very experienced live players, good quality/well maintained equipment, open to questions and suggestions, easy sympathetic working environment. Project aim to open up more live opportunities, not for release.

Initial technical observations were the small size of the bass drum, no opening in front for mic. Reliance on singer and soloists for change cues in songs due to improvisational feel of solo breaks. Possible bleed issues if semi-live setup was the solution.

Drummer had alternative 22" kick with port, no toms and limited cymbals meaning a more easily controlled kit sound. Solos and vocals would be overdubbed in studio. Vocals used for guide in the live recording session. Drums, guitar and bass recorded at the same time to preserve live feel and the natural communication between players. Guitar and bass amps separated in recording space to reduce bleed.

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Main Recording Session

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Plenty of time to set up, check and adjust mic placement and player positioning. Large good sounding room with riser at one end. Cleared area of clutter and found lively and dead parts of the space.

How can you use the room to your advantage? Use your ears and don't be afraid to be creative. Have a visual idea of the sound in your mind within the space before making set up decisions.

Drum kit placed in the middle of the warmer, more lively end of the room. Reflective surface under the snare to capture attack. Majority of drum sound captured with 2 Rode M3 condensers set equidistant from the snare to reduce phase, adjusted to taste. Room mic, small diaphragm condenser placed facing back gloss painted wall about 6" away for extra ambiance.

Guitar and bass amps placed at opposite end of the space facing away from the drum kit towards more dead material. Fender valve amp mic'd with AKG C214 and DI'd through Tech 21 GT2, bass with Sure SM58 and DI'd.

After recording a test run-through, I was able to achieve pleasing results with balancing and pan. A good sign that we were close.

Next stage, coaching for performance...