Recording Loud Music

[Brydon]

Hi,

I have a Panasonic AG-DVX100B, a Rode NTG-2 shotgun mic (with a 1.5' XLR cable), a Zoom H4n recorder, and a decent 50' XLR cable. With or without a sound board available (sometimes they are used, but usually not), what would be the best way to shoot really loud, close quarters punk and metal shows?

I've shot a couple shows before with just the camera's onboard mic and also with the shotgun into the camera with weak results. I recorded one show with a Zoom H1 and the sound was much better than before, but low frequencies clipped the signal. (T'was my fault; I didn't keep a very close eye on the levels.) I didn't use the low end cut-off on the H1 because I figured it would do more harm than good. (Am I totally wrong here?)

Additionally, when editing with Final Cut Pro 7, is it best to capture video and pair the audio recorded to tape or leave it as separate mono channels? With the H4n, should I use four channel recording or multitrack recording?

Thanks in advance!

 

[Gohanto]

Part of the H4n's original design intent was to take a live feed from the mix-board into the 1/4" inputs on the bottom, while also recording with the built-in XY mics for the "live" feel.

As for low-frequency roll off, ideally you shouldn't use it, but a clipped signal is worthless. If you have to roll-off the bass to get a usable signal, just do it.

Shotgun mics are worthless for recording concerts imho.

 

[Alex H.]

Part of the H4n's original design intent was to take a live feed from the mix-board into the 1/4" inputs on the bottom, while also recording with the built-in XY mics for the "live" feel.

Perhaps, but Zoom kind of negated that use by making the 1/4" inputs "instrument" level instead of true -10dB line level. They still have to be padded to take a board feed.

 

[Steve House]

Perhaps, but Zoom kind of negated that use by making the 1/4" inputs "instrument" level instead of true -10dB line level.They still have to be padded to take a board feed.

IMHO, they should have been +4. The choice of instrument level betrays the target market for the recorder, ie, the garage band set. It's a rare mxer that puts out -10 on its mains. The interest in their products by the video community has probably been a surprise to Zoom, if they even realize there is such an interest even today.

 

[Alex H.]

It's a rare mxer that puts out -10 on its mains.

Most mixers do, actually... especially the ones used by garage bands and clubs. Every Mackie, Soundcraft, Studiomaster, A&H, etc. mixer that I've ever worked with has a pair of RCA outs (Tape Out) that is -10dB and is a copy of the main mix signal.

The interest in their products by the video community has probably been a surprise to Zoom, if they even realize there is such an interest even today.

I agree that it probably caught them off guard at first, but they embraced it quickly (at least in PR). The product page for the R16 touted it as a location recording device for video/film, which was laughable for many reasons. They even had a picture of a guy standing next to a camera, holding the R16 and wearing headphones. The device, when used as a standalone, only operates at 44.1/16. They figured that out, I believe, because it wasn't too long before they introduced the R24 that can record eight tracks of 48/24. They've since taken the location recording picture off the R16 page.

 

[Steve House]

Most mixers do, actually... especially the ones used by garage bands and clubs. Every Mackie, Soundcraft, Studiomaster, A&H, etc. mixer that I've ever worked with has a pair of RCA outs (Tape Out) that is -10dB and is a copy of the main mix signal....

Yes, of course, I know that. There's a Tape I/O pair of jacks sitting right on top of the Mackie that's next to me as I type. But although those outputs carry the main mix, they are not the primary outputs of the mixer. They are secondary outputs to allow an occasional interface to consumer equipment.