Taping a Show

Disclaimer

Before I continue: I want to make it clear that I make it an issue to get consent from the artist prior to recording!!!! I'm not encouraging folks to illegally tape a show. Please have common courtesy for the hard work and effort of the artist! Remember that listening to bootlegs and sharing good vibes via word of mouth is only one form of support. Buy the artists' album. Go and see him/her perform live. I guarantee you that a live performance cannot be replicated.

]]> In addition: I am a beginner to this whole audio recording business and I am providing my experiences merely as a reference. There are plenty of sites available that provide extremely detailed information about DIY Audio Recordings. But as a novice recorder, I am keeping to the KISS guideline: that's Keep It Simple, Stupid. My main goal is to get a decent quality recording. However, I am also anal and quality conscious which means that I want something good quality wise to work with from the start. So keeping things simple is sometimes not an option. Either way, I'm learning as I go.

I know there's a lot of sites available that address the issue of how to tape a live performance. But the majority of the sites that I've come across are written from a male point of view. Since I am not a man, I cannot write from that perspective. So I'm adding a woman's perspective to the information that is already available.

The Equipment

Sony MZ-N707 Minidisc.....Retail: $100 +

When Cathy and I first started playing around with the idea of recording shows, we were initially thinking about going old school with traditional tape recorders, the kind you use with a microcassette and use for something like class lectures. But Cathy did some research online and came back with a report on this little device called a minidisc. After more research here and here, a purchase was made for a refurbished Sony MD off eBay.

]]> So far I've been rather delighted at how well this machine is functioning. Sure the buttons are a wee bit small and it's lacking a backlight. But as I'm not comfortable enough to edit while recording (paranoia about erasing anything), all I really have to do is slide the "record" button to the right and sit back to enjoy the show.

Sony ECM-719 Microphone.....Retail: $50 +

This was a last minute impulse buy. I've gotten mixed feedback from folks over at the mindisc forums about this mic. The mic can pick up a wide range of sound, and that's both good and bad. Sure you'll get artist performing, but you may also get the conversation of the loud couple standing behind you and any noise from silverware moving on your or your neighbor's table. Another issue with this mic is the size: it's rather conspicious.

If you're hypervigilant about quality, then I don't think this is the mic for you. But if you're new to recording live shows, are on a budget, and want something simple to operate then this mic is a good starting point. All you have to do is plug the mic into the mic plug-in power port on the MD (denoted with red), slide the front tab of the mic to the music position and make sure the power switch on the top of the mic (for plug-in power) is switched to on. The indicator light will switch to red, signaling that the mic is ready to record.

No matter what mic you decide to go with, make sure that the mic you get has a long cord. This will come into play later on! I'd suggest that you run a test recording at this point. That way, you can get a better sense of the microphone's capabilities and make sure that the mic is working. If not, refer to the manual and always check the battery.

Radio Shack Headphone Volume Control.....Retail: $7

When attached to the microphone, this device will give you some more control over audio in terms of volume and amplitude. It's a cheaper alternative to battery boxes, which can get pricey and bulky. Just turn the setting on the HVC to high (not recommended for LOUD, BASSY shows) and your recording should sound nifty.

Note: Given that the microphone is one of the main components for how you are
going to get audio, it's important to think carefully about this piece of equipment. A more thorough discussion about mics is provided here.

Getting Past Security

Consider The Venue

What I take into consideration first is the location of the performance. If possible, research the venue ahead of time. Try to determine the configuration/layout/floorplan of the place, whether the venue has assigned or general seating, and whether or not there are strict policies regarding security. So far, I've only gone to venues that are small (seat up to approximately 500 in capacity) and are lax in their security measures. For larger venues, Ticketmaster is a good research source to get info.

Consider Your Recording Gear

I haven't quite reached the "techie" status where I'm toting a bunch of audio equipment. My recording gear is rather sparse 4 items (KISS, remember?). I don't have as much to worry about (other than that I actually get the recording). Of course, this will change as techniques develop.

]]> Dress Your Part

Should you have multiple pieces of equipment, this step would come into play. A good rule of thumb is to wear anything dark (black, blues, browns) to aid in concealing your recording gear. It's usually dark once a performance gets underway, so use that to your advantage. Now I'll be the first to admit that I like to look nice even when I'm going to watch someone else perform. I think the key here is to find a good balance between looking nice and being comfortable.

Time To Conceal

All right ladies. How many handbags and purses do you have? If you're like me, you've got plenty. Find one that is roomy, has multiple compartments, and made of a soft material (cotton, corduroy or the like is good) that you're not too terribly attached to. Then you're going to Get Crafty and modify this bag to conceal your recording gear.

The ECM-719 mic is rather conspicious, so I've fixed my purse so the mic is hidden in-between the lining of the purse. Depending upon the size of your purse, you could hide your MD in the lining as well. But I generally put the MD into the black carrying case and stash a bunch of junk on top of it. That way, if the bouncer or security guard should check my belongings, I brush off any concerns with the reply: "Oh, that's my cell phone/palm pilot." (Just as a sidenote: the Blackberry 6710 or a Palm Pilot is roughly the same size, if not larger than a MD). Just don't volunteer any info unless prompted!

To get your gear into the lining of your purse/bag:

Find the corners of the purse lining and turn the lining inside out. Tear a hole in the corner where the seams meet and return the lining back to it's position within the purse. Remember how I said to get a mic with a long cord? Well, that nice long cord comes in handy here. Run the head end of the mic through the hole of the lining and into the purse until you find a secure yet easy to reach area. My purse has two compartments on the front side, with flaps covering them. I keep the mic in the lining close to that area until I make it inside. If you don't have a purse/bag with compartments on the front like mine, look for other inconspicious
places to attach the mic. Another area I've tried to attach the mic to is on the handles of the bag, right where the bag handle meets the opening or zippered area. Sure, you may have to use your armpit to hide the mic until showtime, but whatever works.

Inside the Venue

Pit Stop: Hit the Restrooms

Once you've made it indoors, head for the restroom. It's brightly lit and allows for privacy so you can fully set up your gear. Remove the MD from the carrying case and double check that you've a blank MD and fresh batteries in place. Pull the mic out from the purse lining and put the mic in position. Then connect the plug end of the mic to the mic plug-in power port (denoted with red) on the MD. Be sure that you're know the exact location of the mic is and that you can access it in near dark situations. The reason I bring this up is that should the mic become dislodged during a taping, you can fix it with a minimal amount of fuss. Remember: the mic is sensitive and picks up whatever sound you make! Finally: before walking out the restroom door, run a quick check to make sure that everything is in the proper location! There's probably nothing worse--other than getting caught--than going through all this fuss only to get home and realize
that you didn't record a peep!

Location, Location, Location

This real estate mantra works well with recordings. Depending on the circumstance (and a bit on if you did some researching ahead of time or not), you may or may not be able to decide on where you sit. If you plan on recording and are not sure about seating issues, I'd suggest getting to the venue early so as to secure a good spot to tape from. If there's reserved or assigned seating and you end up in a spot you feel would not make for quality recording, you can always ask (politely!) if you can switch seats. If the person seating you says no, make nice with your neighbors and ask them. I leave it up to you as to whether or not to disclose that you're recording. My basic rule of thumb is to take a look at the placement of the speakers on stage and to try and center myself between them. This way you can somewhat get a balanced sound, even with low end mics. As far as the location of the mic goes, make sure that it is facing the source of the sound.

]]> Time's Up!

The maximum amount of recordable time with a minidisc on SP mode is approximately 1 hour and 20 minutes. If you're fortunate enough to get a break or intermission between sets, make a dash back into the restroom and switch to a new, blank minidisc. Should that not be a viable option and you need to make a swtich while the artist is still performing, try and find a good place to stop. Yeah, it sucks to have to miss part of one song, but that's better than missing out on the rest of the performance!

Before making a switch gather your MD and the extra blank minidisc together and get the minidisc situated so that it's ready to load. You want to be quick about the switch, but you also want to be accurate. Minidiscs come with a pre-printed note indicating the load direction, but I've found it difficult to make out the text in dimly lit situations.You can affix a label on the minidisc and draw an arrow indicating the load direction or you can find the load direction by feel. When in the proper loading position, the minidisc has a small notch on the top right corner. When enabled, this notch protects the disc from being recorded. Use the notch to help you determine the load direction of the minidisc, but be sure not to move it or else the disc will not be writable (i.e. you will not record anything)! Once everything is ready, make the switch: hit the eject button on the MD, remove the used minidisc, replace with the new minidisc and hit record.

The entire disc switching should take about 30 seconds. Depending on your MD, it may take some extra time for your MD to "edit" the recorded minidisc after you hit the stop button and some time to "read" the new blank minidisc to make sure that nothing is on it after you insert it into the MD. Yes, this can be rather agnozing while you're waiting, but better safe than sorry! When you're done with the switch, you can use the extras in your bag as props to help conceal what it was you were doing. Grab a stick of gum, check your cell phone for messages, use your chapstick or lotion... whatever. You were doing something with your bag, so follow through with your actions. Chances are, no one is paying much attention to you, but it never hurts to cover your tracks. Just remember to moderate your actions when you're recording because the mic is sensitive and picks up whatever sounds you make.

Transferring the Tunes

I've Got The Recordings, But How Do I Get Them On CD?

This really depends on your preferences and the computer you're working with. I use both a Mac and a PC and have the benefits and headaches of cross platform issues. Because of the technalities involved, I will not go into too much detail. However, the gadgetry and software I use is provided below.

The Hardware

Griffin iMic.....Retail $40
The Griffin iMic is what I use to get transfer the music from the MD to the computer. It's Mac and PC compatible and ultra easy to use: just plug the iMic to the USB port and attach the appropriate cable. The iMic comes with a CD-R, a 7" stereo mini-jack to RCA adapter cable, and easy to follow directions. While the plug provided works well for traditional stereos, it is not compatible with the MZ-N707, and you'll probably need to get another cable. As a side note, if you have old recordings on tape that you want to transfer onto CD/MP3, this gadget can get that job done for you!

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Miniplug to 1/8" Miniplug Cord.....Retail:
$5

If you're going to use the iMic, then this is the cord you'll need for the MZ-N707. You can get it from Radio Shack or similar audio stores. Just attach one end of the cord to the headphone line on your MD and the other end of the cord to the sound in line on the iMac. If you want to be creative and do a bit more technical manipulation, you can use this cord to get recordings from local radio stations onto your MD. Very nice for those in-studio performances.

The Software

Once you've got the hardware to get the music transferred from the MD to the Mac/PC, you'll need a software program to actually access the sound. There's a lot of technical information involved, much of which I don't understand myself. But here's how I think the music transferring process works. The computer gathers the data stored on your MD via hardware (iMic) and "re-records" that data via software, translating the new information into an audio format that you specify (AIFF, WAV, MP3, etc.)

There are a variety of software programs available ranging from free (or shareware) to really, really, pricey. What you use is really a matter of preference. Here's a list of the software i use or the software programs that have been recommended to me.

Macintosh

Garage Band

Macromedia SoundEdit 16

Cubase

PC:

Sony SoundForge

CoolEdit (now know as Adobe Audition)

Audacity