LIVE TO 4 WITH PANNING

(This works with more tracks too.)

It is a common problem. You have a 4-track portable studio, and you want to record a live performance. But the band has more parts playing simultaneously than you have tracks. So you have to decide what to do.

The problem is that there are more parts than tracks. This means that more than one part has to be recorded on some tracks. So you have to choose a method.

CHOOSING THE TRACKING METHOD

1. DISCRETE TRACKS

   Recording each part to only one track, but with more than one part on some tracks - a procedure with the following effects:

   • This bunches up the parts into only 4 pan positions in the final mix.
   • Having only 4 pan positions doesn't allow a very balanced stereo mix.
   • It requires setting the balance between parts on each track on the fly.
   • All four tracks must be balanced in the same way simultaneously.
   • This requires constant attention to each track, monitored separately.
   • Such attention requires a monitoring system with after-fader solo capability.
   • The engineer is constantly switching between tracks with the solo buttons.
   • The parts on each track can be adjusted independently of the settings on the other tracks during mixdown.

2. STEREO PAIRS

   Recording two stereo pairs of tracks - a procedure with these effects:

   • Any part can be panned anywhere.
   • No limit on the number of pan positions.
   • A balanced stereo mix.
   • The balance of the parts in each pair must be set on the fly.
   • Both pairs must be balanced simultaneously.
   • It is easier to balance each pair with the main monitor feed, because the parts are panned differently.
   • A monitoring system with stereo after-fader after-pan solo capability is a valuable tool here.
   • Each pair of tracks is interrelated, but some adjustments between them are possible during mixdown, due to the varied pan positions.
   • Balance between one pair of tracks and the other pair is set at mixdown time.

USING THE STEREO-PAIRS METHOD

The stereo-pairs method can be arranged so the most difficult balances can be set during the mixdown, and that the remaining balances are either easy to set on the fly, or are not critical. The following are suggestions on using paired tracks to simplify live recording:

1. During the live recording:

   • Unless a separate listening room is somehow available, the monitoring of the recording will have to be done with headphones this may alter the pan positions, compared to the location through speakers.

   • Since balancing the vocals to the instruments is the most critical, put the vocals on one pair and the instruments on the other pair.

   • The dry signal and the effects from it must be recorded on the same pair. Do not allow an effects return to go to the wrong pair.

   • You will need two effects units if both vocals and instrumentals need effects. It is normally better to add effects at mixdown, but if some parts on the track pair need effects and others don't, the effects must be added at tracking.

   • Pan the lead vocal to the center of the vocal pair.

   • Pan the bass and the drums to center of the instrument pair.

   • Pan parts working in the same octave differently, usually far apart.

   • If you have capability to pan into the surround area, unimportant parts can be panned to the sides of the surround zone.

   • If you have capability to pan into the surround area, a mono reverb can be panned to near the center back of the surround zone. Pan a stereo reverb to the 45 degree left and right positions in the surround zone.

   • Use an after-fader after-pan (or "in place") solo to adjust critical balances, such as the balance between a piano and an acoustic guitar. After-fader solos are available more on newer consoles.

2. During the mixdown:

   • If you have the capability, use an external mixer, and route the signal through both the portable studio's channel strips and the external mixer. This gives you more control over the EQ.

   • Initially pan the vocal tracks hard left and right.

   • Initially pan the instrumental tracks hard left and right.

   • Set the vocal-instrumental balance now by adjusting track levels.

   • Adjustments to relative levels within the vocals can be made by tweaking the level, EQ, and pan of each vocal track.

   • Adjustments to relative levels within the instruments can be made by tweaking the level, EQ, and pan of each instrumental track.

   • Effects added during mixdown must affect at least everything on one track. The best method is to send a pair of tracks to a stereo effect.

A few additional ideas to improve the results:

• If the bass and drums overpower the instrumental pair, the following procedure works quite well:

  1. Roll off all of the other instruments below their lowest usable frequencies during the live recording.
  2. Gently reduce the bass and the drums below 200 Hz during recording.
  3. At mixdown, apply a corresponding strengthening of the bass below 200 Hz.

• If you have an audience pickup mic and surround panning capabilities, a mono mic can be panned to near the center back of the surround zone on the instrumental tracks. Pan a stereo mic to the 45 degree left and right positions in the surround zone on the instrumental tracks. This technique gives the recording that "you are there" effect, especially if a binaural technique is used for the stereo pickup. But be sure the output of this pickup is in the background of the mix.

• BONUS! You can easily mix an instrumental version of the same song by leaving out the vocal tracks.

• BONUS! You can easily mix an acapella version of the same song by leaving out the instrumental tracks.

LINKS

1. Home
2. MIXING menu
3. LIVE MIXING TIPS
4. TAPE MIXING TIPS
5. BOUNCING TECHNIQUES
6. PANNING TECHNIQUES
7. COMMON MIXING MISTAKES
8. 101 WAYS TO RUIN A SESSION