Position of recording

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This topic contains 7 replies, has 5 voices, and was last updated by Profile photo of jb07 jb07 3 months, 4 weeks ago.

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  • #98186
    Profile photo of jb07
    jb07
    Participant

    recording on usb key is apparently taken before the faders but after the gain, after the HPF, after the GATE and after the COMP. Is it possible to record without the COMP?

    #98187
    Profile photo of volounteer
    volounteer
    Participant

    @jb07

    err….

    UMM…………

    just dont apply any comp?

    #98188
    Profile photo of jb07
    jb07
    Participant

    I bought the pack of compressors and wanted to compare to each other

    #98189
    Profile photo of volounteer
    volounteer
    Participant

    @jb07

    okay, sounded like you did not want any comp so

    then cant you just insert one of those from your pak of comps and use it by itself?

    #98191
    Profile photo of IraBob
    IraBob
    Participant

    In many (most?) situations, when an engineer wants to make a simultaneous multitrack recording off a live mix console, he or she will want not only post HA/pre-fade, but also pre-HPF, pre-EQ and pre-dynamics. So you’d commonly want to use all those things in a live mix but not record with those things in the signal path. Many systems give you the option of choosing your “pick point”. That’s what jb07 is asking about, which isn’t at all out of the ordinary.

    Of course, I’m saying the obvious. Maybe I’m not understanding the question?

    #98194
    Profile photo of KeithJ A&H
    KeithJ A&H
    Moderator

    @jb07 ,

    As IraBob suggests, it sounds as though you’re recording input channel direct outputs and would like to change the source/tap-off point.
    To do this, select any input channel, go to the Routing screen, touch the ‘Dir Out’ button at the top of the channel and you’ll see the individual Direct Out Level for that channel, as well as the Global Direct Out Settings (for all input channels).
    The Direct Output Source is selected at the top there.

    More info here – https://www.allen-heath.com/media/SQ_ReferenceGuide_V1_5_0.pdf#page=39&zoom=auto,-361,573
    and a diagram that might be useful at the same time here – http://support.allen-heath.com/Knowledgebase/Article/View/sq-signal-path

    (It’d be great to hear your thoughts on the different compressors too, they are very different, especially when you start to push them!)
    Cheers,
    Keith.

    #98216
    Profile photo of Hugh
    Hugh
    Participant

    There is very important info packed into this thread for folks that are providing turn key audio/video capture for events. I have been multi-tracking acoustic Americana events when I provide FOH SR for more than 20 years. I strongly prefer pre/HPF only capture for multi-track recordings of live events. The ability to leave the specific FOH enhancements at the venue is a really big deal when two mixing your tracks back in the studio!

    I run a stereo scratch track to both of my Atomos video recorders direct from FOH LR main mix. After two mixing the USB multi-track recording it can be synced over the scratch track if it is clearly a better recording. I have found through the years that there is a direct correlation between live hot back lines and the need for pre only multi-tracking. Stage noise is always a dicey problem when recording a live gig.
    Hugh

    #98221
    Profile photo of jb07
    jb07
    Participant

    Thanks Keith for the response.
    I will be able to practice selecting each type of compression on the same recording.

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