Multitrack Live Recording: Capturing Individual Channels

Multitrack live recording captures each input channel separately, preserving complete flexibility for post-production mixing. Rather than committing to a stereo mix at the time of performance, multitrack recording enables later remix with the benefit of time, perspective, and unlimited revisions.

Why Multitrack Matters

Live mixing happens under time pressure with imperfect monitoring conditions. Decisions made during performance may not reflect ideal balance.

Multitrack recording allows revisiting every decision later. If the bass was too loud, reduce it in the mix. If the vocal EQ was wrong, change it.

The same performance can yield multiple mixes. A broadcast mix, a video soundtrack mix, and an album mix can all come from one performance capture.

Virtual soundcheck capability plays back multitracks through the live system, enabling setup and soundcheck without the band present.

Digital Mixer Recording Options

Modern digital mixers include USB recording outputs sending all channels to connected computers. The Behringer X32 records 32 channels via USB; the Allen & Heath SQ records up to 32 tracks.

DAW software receives the USB audio streams and records to disk. Standard software like Reaper, Logic, Pro Tools, or others handles the recording.

SD card recording on some mixers eliminates the computer. The Yamaha TF series and others record multitrack directly to memory cards.

Dante, MADI, or other audio-over-IP protocols enable recording on networked systems. A Dante-enabled computer anywhere on the network can record.

Standalone Multitrack Recorders

Dedicated recorders operate independently without computers. Units from Cymatic Audio, JoeCo, and Zoom provide rack-mount recording.

These recorders accept analog inputs directly or digital streams via MADI or similar protocols.

Reliability advantages over computer-based systems appeal to professional applications. No crashes, freezes, or software conflicts.

Storage typically uses removable drives or cards. Swap media between shows for fresh recording capacity.

Signal Source Selection

Direct outputs from mixer channels provide pre-fader signals. These capture the raw input with only gain applied, independent of channel fader or EQ.

Post-EQ, pre-fader signals capture the processed sound without fader movements. The recording reflects tonal decisions made during the show.

Splitting before the mixer using transformer splitters provides completely independent recording signals. The recording is unaffected by anything the live engineer does.

The best source depends on production needs. Raw capture preserves maximum flexibility; processed capture preserves live sonic decisions.

Gain Staging for Recording

Recording levels should peak around -12 to -6 dBFS, leaving headroom for unexpected transients while maintaining adequate signal-to-noise.

If recording pre-fader direct outputs, the live engineer’s gain setting determines recording level. Communicate recording needs when sharing gain control.

Dedicated recording gain trims, available on some mixers, allow independent recording level adjustment.

Peak limiters on recording inputs catch transients that would clip. Gentle limiting protects without obvious artifacts.

Track Organization

Consistent track assignments match input list organization. Channel 1 on the mixer becomes track 1 in the recording.

Document track assignments for post-production reference. Printed or digital track sheets prevent confusion weeks later.

Consider grouping tracks logically in the recording software. Drums together, guitars together, vocals together aid post-production workflow.

Storage Requirements

Calculate storage needs before the show. 24 tracks at 48kHz/24-bit requires approximately 250MB per minute, or 15GB per hour.

Include margin for unexpected long shows. Running out of storage mid-performance loses critical material.

Fast storage media prevents data bottlenecks. High-speed SD cards, SSD drives, or RAID arrays handle high track counts reliably.

Backup recordings immediately after shows. Duplicate to multiple drives before considering the recording safe.

Monitoring the Recording

Confidence monitoring verifies recording is actually happening. Most recording systems provide meters showing incoming levels.

Periodic verification during the show catches problems early. A quick glance at recording meters between songs confirms operation.

Listen back to brief sections if time permits during soundcheck. Confirming clean audio on all tracks prevents unpleasant surprises later.

Post-Production Workflow

Import tracks into DAW software matching the recording format. Verify all tracks appear and align correctly.

Create rough mix to assess performance and identify any issues. Note sections needing editing or attention.

Proceed with full mixing if the material warrants. Apply EQ, compression, effects, and automation as needed.

Edit as necessary to remove problems, tighten arrangements, or combine the best portions of multiple performances.

Virtual Soundcheck Application

Playing multitrack recordings through the live system enables setup without musicians. Route recorded tracks to mixer inputs; mix as if the band were playing.

This capability allows system testing, channel configuration, and even mix preparation before the band arrives.

Real performance dynamics make virtual soundcheck more useful than test tones. The recording captures actual performance variation.

Common Challenges

Clipping from unexpected transients requires conservative level setting. When in doubt, reduce recording levels.

Dropped samples or glitches indicate system overload. Use faster storage, reduce track count, or upgrade hardware.

Sync problems if recording separate devices require common clock reference. Digital systems should share a word clock.

Post-show organization prevents lost recordings. Systematic file naming, folder structure, and backup procedures protect valuable material.