Synopses & Reviews
Want to record live audio or make field recordings for television and films? This book will teach you how. Recording on the Go: The Definitive Guide to Live Recording brings together the foundations of audio and the practice of live recording. It is a comprehensive guide to every step of the location recording process, from planning what you want to do, to getting the right equipment, to setting up the recording, to editing the results to taste. More than a simple overview, this book also maps out a strategy for success in location recording, from planning through execution, taking the reader through all the steps necessary to satisfy clients' needs along with their own practical and aesthetic sensibilities. Along with everything you would expect from a book about location recording penned by two longtime audio professionals, this book provides humor and personal insights into the best practices, risks, and rewards of live recording. Armed with the knowledge in this book, some good skills, and a little bit of luck, you'll have no problem creating a world-class live recording--and you'll even have some fun while doing it!
About the Author
Longtime music business professional Gary Gottlieb refers to himself as a music generalist. A professional musician since age 13, he worked in radio on and off for 25 years, and was a music critic for 9 years. As a recording engineer and music producer in New York, Gottlieb's long and distinguished career includes work with numerous Grammy Award winners and Rock and Roll Hall of Fame inductees. His credits as a sound designer include off-off-Broadway productions, along with community and college theatre productions throughout New England. Along with his history as a music critic and entertainment writer for the Deerfield Valley News in West Dover, Vermont, and a disc jockey for WEQX, a major modern rock station in Manchester, Vermont, Gottlieb owned and operated a mobile DJ service and was a Venue Director for numerous X Games and Winter X Games for ESPN. In 2002 he accepted a position as Professor of Audio Production at Webster University in St. Louis, where he now runs the Audio program. Paul Hennerich is the owner and chief engineer of PanGalactic Recordings, whose clients include the Saint Louis Symphony Orchestra. Hennerich has been the recording engineer for the symphony for more than 10 years. For five years, he was recording engineer and audio producer for a syndicated National Public Radio show of the symphony's live performances. In addition, his work as recording engineer and editor for the symphony CD Messiaen: Turangalila-symphonie helped earn the CD a mention as a "Record to Die For" by Stereophile and a Netherlands' Edison ClassicalMusic award in the Special Historical Editions category in 2008. Hennerich is a contributing location producer and recording engineer for another syndicated NPR show, JazzSet, producing recordings of concerts by the Dirty Dozen Brass Band and others. In addition to his experience working with live recordings for national programs, Hennerich also has been technical director and audio producer for live broadcasts for KMOX and KFUO. Hennerich, a full adjunct professor of audio for Webster University, is also a partner in AAM Recordings, a small independent record label specializing in location recording. His experience also includes location recording and work as a mastering engineer for music from indie heavy metal to blues and location recording for web streaming of a concert series produced by the symphony and the Pulitzer Arts Foundation. He started his career as a front-of-house engineer for venues, including the 12,000-seat Muny (St. Louis Municipal Opera) and the more than 10,000-person crowd at the St. Louis Blues Festival.
Table of Contents
Introduction; Part I: The Basics of Live Recording; Chapter 1: Why Record Live?; Chapter 2: Sound in Space; Chapter 3: The Key to Success: Planning; Chapter 4: Gig Psychology: Playing with Others; Chapter 5: Understanding and Respecting Power and Ground; Part II: Gear; Chapter 6: Basic Gear; Chapter 7: Where We Keep Stuff: Data Storage; Chapter 8: Decisions, Decisions - To Wheel In or Not to Wheel In: That Is the Question; Part III: The Gig; Chapter 9: Recording Big (Because We Always Record Big): Clubs, Rock, Jazz, and Blues; Chapter 10: Recording Bigger: Large-Ensemble Recording on Location; Chapter 11: Recording Biggest: Stadiums, Sporting Events, Music Festivals, and Made-for-TV Events; Chapter 12: Location Recording for Visual Media; Chapter 13: Surrounded!; Chapter 14: Harnessing Sound; Chapter 15: Finding Your Perch; Chapter 16: Work and Play Well with Others: Interfacing with the Live Sound System; Part IV: The Day After Chapter 17: What Have We Got? Can We Fix It in the Mix? Chapter 18: Editing and Sweetening; Chapter 19: Software and Such; Chapter 20: The Final Frontier; Appendix A: Popular Microphones and Their Placement; Appendix B: Glossary