The Black Angels, The Tyde – 2006-10-23
October 24th, 2006I’ve been waiting to see The Tyde live for a long long time. Since I first heard Twice I’ve been looking forward to seeing them reproduce those pop gems at a concert. Turns out, they never tour because their lead singer is a kindergarten teacher and he can’t very well just take time off when there are finger paintings to be made. I can forgive him for that. They played all of my favorite songs and it was everything I hoped it could be.
The last time I saw The Black Angels was at the Capitol Hill Block Party in July. It was outside. It was hot. It was bright. It didn’t sound that great. This time it was in a proper venue with their actual sound engineer working the boards. Vocals were echoed and boomy. Guitars were loud and blaring. The house was rocked. All around a really great set with a good crowd. Everyone seemed pretty “into it”.
I got a soundboard feed because I was helping the guys at Live Eye TV with audio and video. I tried matrixing my AUD source to the SBD source and realized I’m really bad at it. I don’t think I know the proper way to matrix a recording because whatever I’m doing isn’t working. The idea I’m using is that the SBD track is the main audio and the AUD track is the auxiliary audio. So in order to keep them in sync, I split up the AUD track by song and shift it so that it lines up with the beginning of the song in the SBD track. This doesn’t seem to work all that well. There has to be a better way… anyone have any advice?
Let me know what you think of the matrix mixes. If you think they suck, I’ll post the separate AUD source. I think The Tyde one is ok but the Black Angels one was tricky because they use so much reverb.
Voyager One – 2006-10-23 Neumo’s – Seattle, WA
Download: vo2006-10-23.akgc1000s.flac16.zip
MP3 Sample: vo2006-10-23sample.mp3
The Tyde – 2006-10-23 Neumo’s – Seattle, WA
Download: tyde2006-10-23.akgc1000s.matrix.flac16.zip
MP3 Sample: tyde2006-10-23sample.mp3
The Black Angels – 2006-10-23 Neumo’s – Seattle, WA
Download: ba2006-10-23.akgc1000s.matrix.flac16.zip
MP3 Sample: ba2006-10-23sample.mp3
October 25th, 2006 at 12:21 PM
Thanks very much for taping and sharing Brian! Can’t wait to listen to this… and watch what end up with for ‘Live Eye TV’.
Was your SBD feed just the SBD, or did it have Jayney’s Audience mix included? We once had a line out from her, and it was her matrix that she does on the fly. That might have added the extra layer of complexity if you were getting her matrix.
If it’s not too much trouble, and you recorded on seperate rigs (it sounds like you did), I’d love seperate recordings of your audio and the soundboard feed. I have 2 audience sources (sonic studios -> Microtrack) & (DPA4061 -> iRiver) if you’re interested in either of the 2, however I’m sure yours is better, and both mine will be posted on LMA eventually.
Thanks again for all your efforts on this show. It’s my fav band right now and it was really nice to see the tapers out in full force.
October 25th, 2006 at 1:09 PM
She said she turned down her mic for the tape-out I was getting. The feed I got from her sounds very dry like a soundboard usually does.
October 25th, 2006 at 2:01 PM
OK… I should have know you knew exactly what you were getting.
Thanks again!
October 26th, 2006 at 1:10 PM
Awesome! I was at the Saturday show. Can’t wait to check this out.
October 27th, 2006 at 9:02 AM
Thank you!
November 1st, 2006 at 1:03 AM
Hey Brian… Finally have a Tyde recording ready for ya. Sorry I’m not quick with these like you. Also, it looks like this is my only complete recording. I have partials on another show or two. (I Should have set up a stationary rig so it could have been taping while I was running around)
Just about done with Mew also.
URL:
http://www.oasisdouglas.com/recordings/Tyde2006-10-20_aud_sonics.zip
INFO:
THE TYDE (AUD-1disc-MicroTrack)
2006-10-20
USA-Portland, OR-Doug Fir Lounge
SOURCE: Sonic Studios DSM-6 -> PA-6LC -> MicroTrack
TRANSFER: MicroTrack -> USB -> Adobe Audition -> Mastering Rack (Wave Arts TrackPlug 5, Wave Arts MultiDynamics 5) -> CD Wave Editor -> WAV -> FLAC Frontend -> FLAC
SETLIST:
01 Intro – “Are We Ready”
02 Blood Brothers
03 Henry VIII
04 A Loner
05 Do It Again Again
06 Too Many Kims
07 Separate Cars
08 Brock Landers
09 Ltd. Appeal
10 Go Ask Yer Dad
11 Shortboard City
12 Silver’s Okay Michelle
LENGTH: 44:45
DATE: Friday, October 20, 2006
RECORDED BY: OasisDouglas (www.oasisdouglas.com | trades@oasisdouglas.com)
–> NorthWestTapers Recording # NWT06.A.45.aud
November 16th, 2006 at 5:45 PM
The thing about Jayney’s recordings is she doesn’t do anything to compensate for the delay between the room mics and the SBD feed, other than making the AUD source lower in her mix. And it’s impossible to really monitor the mix with headphones in a loud club. And even if she’s able to give you an output for just the SBD feed, her little portable mixer just sounds crappy.
Here’s how I synch up SBD AUD sources in post-production:
1. Import all the tracks into Pro Tools.
2. Make sure the L R channels match for the two sources, and pan the L R channels 100%.
3. In order to sync the two sources I look for a drumbeat or other clear sound at the beginning of the set, and then trim either the SBD or AUD source so that the two source line up. I zoom in as far as possible to make sure the waveforms are matching up exactly. Listen to the beginning to make sure it sounds in sync. Then find a drumbeat at the end of the set and figure out the difference in length between the two sources. Use the time compression expansion feature to line up the two sources, usually by stretching the AUD source to fit. Listen to the end of the set to make sure it sounds in sync.
4. Mix the levels of the two sources to your liking. It really depends on the sound of your two sources, but if both came out reasonably good I try and get enough AUD in the mix so the drums have some natural room sound and the guitars sound a little punchier. Or if the crowd was too chatty I might turn the AUD source down to the point where they can only be heard between songs. Play around with the levels and mute tracks until you find a mix that works.
5. Trim the beginning and end of the set, add cross-fades, whatever.
6. Bounce all the tracks to a stereo mix.
7. Track and burn.
That’s the simplified process. It can get trickier if one of the sources is flawed and requires more editing.