[Frank Stearns]

gjsmo writes:

-snips -

There are better ones, but this seems to be the best example of what
I'm thinking of off the top of my head. In general, the good live
albums have a certain on-going quality that isn't there in studio
albums. Maybe it's the audience cheering, maybe it's the amps being
cranked farther, but they have a certain intangible quality which
escapes me. I suppose it's possible that this only happens in live
performances, but I'm just wondering why.

Live performance energy can mean a lot for the "vibe". But purely for the sonic
signature aspect, sometimes it's just the additional bleed between mics in a
"bigger" acoustical setting that adds sonic "dimension."

99% of my work is on location; I use this all the time -- not that I don't mic for
isolation and control when doing non-classical work, but when bleed does happen I
don't wring my hands; I figure out how to use it beneficially. This usually means
fiddling with channel delays, adding reverb differently than had the tracks been
completely isolated and dry, and so on.

I do have one client who complains he can't use autotune effectively if there's
bleed.

Response #1: Awwwwwww, darn...

Response #2: "No worries, man, it's called 'chorusing'..."

Frank
Mobile Audio

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