Soundboard Recording: Capturing the FOH Mix

Soundboard recording captures audio directly from the mixing console, documenting exactly what the PA system played. This method provides clean, direct audio without room acoustics, crowd noise, or microphone placement variables. The quality depends entirely on the live mix—good mixes produce good recordings; problematic mixes are documented faithfully.

Connection Points

Main outputs provide the complete stereo mix. Connecting a recorder to these outputs captures everything going to the PA.

Record outputs on some mixers provide dedicated connections specifically for recording. These may include level control independent of the main faders.

Auxiliary outputs can feed recorders when dedicated record outputs are unavailable. Configure an aux as post-fader and route all desired channels to it.

Insert sends tap individual channels for recording specific sources. This creates focused recordings of particular elements rather than the complete mix.

Signal Level Considerations

Console outputs are typically line level (+4 dBu professional or -10 dBV consumer). Match recorder input capability to console output level.

Pad or attenuate if the console output is too hot for the recorder. Many professional outputs can overload consumer recorder inputs.

Gain staging through the recording chain mirrors live mixing principles. Appropriate levels at each stage prevent noise and distortion.

Headroom in the recording should accommodate performance peaks. Leave 6-10 dB margin below digital full scale for safety.

Digital vs Analog Connections

Digital connections (AES, SPDIF, USB) transfer audio without conversion. If both console and recorder support digital, this maintains signal integrity.

Analog connections require D/A conversion at the console and A/D conversion at the recorder. Quality converters minimize degradation.

Sample rate matching matters for digital connections. Set both devices to the same sample rate (usually 48kHz for live sound).

USB Recording Features

Many digital mixers record directly to USB drives. This eliminates external recorders and connection complexity.

The recording typically captures the main stereo mix. Some consoles offer selection of which outputs to record.

File format is usually WAV at the console’s operating sample rate. Storage capacity of the USB drive determines maximum recording length.

Verify USB drive compatibility with the specific console. Not all drives work with all mixers.

Matrix Outputs for Recording

Matrix outputs combine sources in custom configurations. A dedicated recording matrix can capture a different mix than what goes to the PA.

The recording matrix might include different balancing for recorded listening versus live reinforcement. More vocal, less drums—whatever suits the recording purpose.

This approach requires mixer capability and channel availability. Not all consoles include matrices; those that do vary in flexibility.

Monitoring the Recording

Visual level monitoring shows that recording is happening and at appropriate level. Check meters periodically during performance.

Audio monitoring through headphones verifies content and quality. Listen to the recording signal, not just the live sound.

Confidence recording during soundcheck confirms the system works before the actual performance.

Common Soundboard Recording Issues

Unbalanced mixes translate directly to unbalanced recordings. If vocals were buried during the show, they’re buried in the recording.

Feedback control EQ cutting affects the recording. Heavy cuts made to control feedback may sound unnatural in the recording.

Extreme dynamics that were appropriate for live reinforcement may be tiring on headphones. The recording documents what happened, including dynamic extremes.

Room fill from monitors and backline does not appear in soundboard recordings. Elements that were heard acoustically are not captured.

What Soundboard Recording Lacks

Room acoustics and ambience are absent. Soundboard recordings can sound dry and sterile compared to the actual audience experience.

Crowd energy and response are not captured. The recording is just the music, not the event atmosphere.

The bass from the subwoofers felt by the audience does not translate to recording. Physical impact becomes audio-only.

Acoustic bleed that contributed to the live sound—guitar amps, drum kit, vocal projection—is not in the soundboard signal.

Enhancing Soundboard Recordings

Post-production reverb can add spatial dimension. Convolution reverbs simulating room acoustics add ambience the recording lacks.

EQ adjustments improve listenability. What worked for PA reinforcement may need adjustment for headphone or speaker listening.

Compression can smooth dynamics that were appropriate live but are challenging for recorded listening.

Mastering treatment prepares the recording for distribution. Level optimization, final EQ, and limiting create polished results.

Combining With Room Mics

Adding room microphones to the soundboard recording captures what the board recording misses. Blend in room mics for ambience.

Time alignment ensures the room mics and board feed combine coherently. The room mics are delayed by room travel time.

The blend ratio determines character—more board for clarity, more room for atmosphere.

This hybrid approach produces recordings with both the cleanliness of direct recording and the spatial character of live performance.

File Management

Name files clearly with date, venue, and show information. Systematic naming prevents confusion with multiple recordings.

Backup immediately after the show. Copy to multiple drives before considering the recording secure.

Organize files in logical folder structures. Band name, year, venue creates findable archives.

Archive format should use uncompressed audio (WAV, AIFF). Compress copies for distribution but preserve originals.