Pay close attention to the sound quality. It differs a lot depending on where you stand. If you know where the music is clearest, you can place your equipment there to capture it. The best time to check in on a venue is always when it’s in use. Try to get a sense of what to expect when you’re recording something. If you don’t have an opportunity to do that, go when it’s empty, if possible. The same rules apply if you’re filming at home or in a studio. Spend time planning out how you’re going to set everything up, including figuring out how to get the greatest possible sound quality.
A church might have a piano and an organ, for example. If you didn’t know the musician was planning on playing the organ and you set your equipment there, then it throws off the entire concert. You can often hook your recorder up to the sound system to capture audio, but you need the operator’s permission. In addition, not all sound systems are set up the same way. Some setups only pick up certain parts of the music, like the bass.
Portable recorders are nice because they are very easy to move and set up, but they can run out of battery power right in the middle of your recording. Make sure you know where the electrical outlets are if you think this will be a problem! A computer will usually have space to plug in a single microphone. Some portable recorders have 2 outlets. Hardware recorders can have many outlets, which makes recording full concerts much easier. Recording hardware usually starts around $100 USD. Bigger, better hardware recorders can cost much more, on top of all the other equipment you may end up using.
Placement matters, so try to keep the recorder close to the action. Test the sound by recording something and listening to the playback to ensure you have the best spot in the house. Make sure the recorder is out of the way and won’t be disturbed by anyone attending the concert. An accident can easily ruin an otherwise perfect recording, but broken equipment is no fun either.
Most recordings use multiple microphones for better sound quality. If you are able to, try placing a unidirectional microphone on either side of the stage. Shotgun and cardioid mics both pick up noise from a single direction. Another option is to use a separate microphone for each instrument, but this gets expensive very fast and takes up a lot of space. If you are able to do this, connect the mics to an audio recorder with space for multiple inputs. If you’re connecting to a sound system to capture audio, bring a mic splitter. It directs sound to both the sound system and your recorder. It prevents the sound system from messing up your recording.
Preamps are devices that turn weak electrical signals from your microphones into strong, clear recordings. If you’re using a recording device with multiple microphone inputs, get a preamp for each microphone. They cost around $25 to start, so it is an investment. Mixers can also be used to record and combine audio tracks from different microphones while you’re recording. You can do this by connecting your recorder to the venue’s sound system or by plugging a recorder into your own mixer.
Clipping can sometimes be fixed by editing the recording afterward, but you can’t truly get rid of distorted audio. It can easily ruin an otherwise good recording. If you’re able to speak to the musicians before the recording, remind them not to turn their instrument volume up too high.
For example, if the audio sounds a little weak or faint, move the microphones close to the instruments. Move them back if the music sounds a little loud or distorted. If you’re working with the band, ask them to play their instruments after each adjustment you make.
If you notice any problems, make adjustments as best you can. You might be able to reposition your gear, for instance. If you took care when setting it up your equipment, the recording will most likely turn out fine. However, hiccups are inevitable, so having a backup plan always pays off!
If you’re able to, call the venue operator or promoter in advance to ask for permission to record. No matter who you talk to, being polite will make it more likely that you get a great recording. Some sound operators won’t help you. They may be recording the show themselves or simply not have room for your equipment.
Some setups only pick up certain instruments, like the bass. If you run into this problem, you can deal with it by using a mic splitter and your own microphones. A mic splitter sends a separate recording to your recorder and the sound system. If an instrument isn’t recorded through a microphone connected to the mixer, it is most likely being picked up through an amplifier. For example, guitars are often recorded this way, and, as soon as the guitarist turns up the amp, you get clipping in your recording.
Make sure that the sound system is receiving input from all of the instruments on stage, or else you may end up with an incomplete recording. The operator has to keep the sound levels consistent for this to work. If someone suddenly turns up an amp, for instance, your recording will end up distorted.
You can get an inexpensive mic splitter with up to 8 outlets for about $300. Make sure your mic splitter has input ports for any extra microphones you plan on setting up.
Use multiple microphones to make a multitrack recording. By doing this, you can record each sound source separately. You can then edit all of these recordings into one perfect concert.
Take a peek at the mixing board used by the sound operator. If you know how it works, you can figure out how it affects your recording. Note when the operator adjusts the volume levels and remind them of your recording if you think the changes will hurt it. If you know the performers, you may be able to give them instructions, such as reminding them not to tune their instruments up too high. It’s easy for them to forget while they are performing.
Technically, it is illegal to record musicians without their permission, even if you’re just using a phone. However, most people won’t care if you record with a cell phone. For big concerts, you have to apply for a photo pass in order to do any sort of filming. You have to contact the band or concert organizer, but you won’t get a pass unless you’re a professional journalist or photographer.
If you’re a fan in the crowd, look for some space away from other people. Check near the sound engineer’s control booth, handicap areas, and speakers. Get up close to the stage if you are able to. To pick out good filming spots, arrive at the venue early. Try attending during another concert, for instance.
If you’re using multiple cameras, you most likely will need someone to operate each one. When filming, make sure each camera has a good view of the concert. Make sure it is stable so the video quality is as high as it can be.
You could also use a device like a handheld phone clamp or camera steadier. These devices will give you a little more freedom of movement. If you’re going to hold a camera while filming, practice! Make sure you’re able to hold it steady, even while moving it. Make sure you have permission to bring equipment into a venue. If you’re going to a concert venue as a fan, you are most likely going to have to hold your phone up the entire time.
If you’re using your phone, get a plug-in microphone for better sound quality. There are some versions that plug directly into a phone’s headphone jack. Some microphones require you to plug in a microphone adapter first. If you’re recording audio professionally, set up microphones close to the stage to make the ultimate recording! Try using 1 or 2 microphones near the stage, for instance.
When filming, you’re better off standing in one place away from the crowds rather than trying to move around. You may not find a good spot elsewhere. For audio recordings, try to keep your recorder above the crowd. If you’re close enough, getting the best possible quality won’t be a problem, but the sound can get muffled if you move around too much.
