Recording Live Shows: Capturing Performances for Posterity

Recording live shows preserves performances for later review, release, or promotional purposes. The captured audio documents what happened at the show, enabling analysis of the mix, creation of live recordings, or simply having memories of performances. Several approaches serve different needs and budgets.

Recording Approaches Overview

Stereo board mixes capture the main mix output, recording exactly what the PA played. Simple setup; limited post-production flexibility.

Multitrack recording captures individual channels separately, enabling full remix capability later. More complex setup; maximum post-production flexibility.

Audience recordings capture what listeners actually heard in the room, including room acoustics and crowd response.

Hybrid approaches combine multiple methods—multitrack plus audience mics, for example—for comprehensive coverage.

Stereo Board Recording

The simplest approach records the main mix outputs. A recorder connected to mixer main outputs captures the stereo mix.

Digital mixers often include USB recording directly to flash drives. The Behringer X32, Allen & Heath SQ, and many others offer this capability.

External recorders like the Zoom H4n, H6, or Tascam DR series accept mixer outputs through XLR or quarter-inch inputs.

The recording captures exactly what went to the PA—including any mixing mistakes. There is no opportunity to fix mix problems later.

Multitrack Recording

Multitrack recording captures each input channel separately. Post-production mixing can create entirely new mixes from the raw tracks.

Digital mixers with USB or Firewire outputs can send individual channels to a computer running DAW software. The recording captures all channels simultaneously.

Standalone multitrack recorders like the Zoom LiveTrak series or Cymatic Audio recorders capture multiple channels without computers.

Track counts vary by system capability. 32-track recording is common on professional digital mixers; some systems support 48 or 64 tracks.

Hardware Requirements

Stereo recording needs a two-channel recorder or audio interface. Portable recorders work standalone; interfaces require computers.

Multitrack recording needs sufficient track count for the show’s input list. A 24-input show needs at least 24-track capability.

Storage space matters for long shows. Multitrack recording generates large files. 24 tracks at 48kHz/24-bit creates roughly 250MB per minute.

Reliable media prevents lost recordings. Quality SD cards, fast hard drives, and proven equipment protect against data loss.

Connection Methods

Direct outputs from mixer channels provide pre-fader signals for multitrack recording. These tap individual channels regardless of the live mix.

Main outputs for stereo recording should be post-fader to capture the actual mix. Some mixers provide separate recording outputs.

Insert sends can provide post-gain, pre-EQ signals for recording while allowing different EQ for the live mix.

Digital connections (USB, MADI, Dante) transfer multiple channels over single connections, simplifying multitrack routing.

Audience Microphone Recording

Audience microphones capture the sound in the room—what listeners actually heard. This includes room acoustics, crowd noise, and spatial character.

Stereo microphone placement in the audience area captures a listener’s perspective. Common techniques include spaced pair, ORTF, or mid-side configurations.

Quality condenser microphones capture full frequency range and subtle detail. Inexpensive microphones may miss high-frequency content or distort on loud peaks.

Combining audience recording with board mix provides both perspectives. The multitrack mix captures clean signals; the audience recording adds room character.

Recording Levels

Set levels conservatively to avoid clipping. Digital clipping creates harsh distortion impossible to remove.

Aim for peaks around -6 dB, leaving headroom for unexpected loud moments. Quiet recordings can be gained up later; clipped recordings cannot be fixed.

Use limiters or compressors on recording inputs for protection against transient peaks. Gentle limiting preserves dynamics while preventing clipping.

Post-Production Possibilities

Stereo recordings allow limited adjustment—overall EQ, level changes, and editing. The balance between elements is fixed.

Multitrack recordings enable complete remixing. Every level, pan, EQ, and effect decision can be reconsidered. A bad live mix can become a good recorded mix.

Editing removes mistakes, dead time between songs, and problematic sections. Careful editing preserves performance continuity.

Mastering prepares the final recording for distribution—EQ, compression, level optimization, and format conversion.

Legal Considerations

Recording rights depend on venue policies, artist agreements, and applicable laws. Obtain permission before recording.

Cover songs introduce additional rights considerations. Publishing rights for covered material require proper licensing for commercial release.

Audience recordings at others’ shows may violate venue policies or artist preferences. Respect performers’ wishes about recording.

Uses for Live Recordings

Performance review helps bands improve. Listening back reveals mix problems, performance issues, and areas for development.

Live albums and promotional content showcase the band’s live energy. Raw live recordings capture something studio recordings cannot.

Archive documentation preserves important performances. Historical value may emerge over time.

Social media content gives fans glimpses into live shows. Short clips promote upcoming performances.

Equipment Recommendations

Budget stereo recording: Zoom H4n Pro, Tascam DR-40X, or similar portable recorders.

Mid-range multitrack: Zoom LiveTrak L-12 or L-20, Cymatic Audio uTrack 24.

Professional multitrack: Computer-based DAW with appropriate interface, or dedicated recorders like the JoeCo BlackBox.

Quality audience microphones: Rode NT5 pair, Audio-Technica AT4041 pair, or similar small-diaphragm condensers.