Two Track Live Recording: Simple Stereo Capture Methods

Two track live recording captures stereo audio of live performances using the simplest possible setup. The recording documents exactly what the PA played or what microphones captured in the room. While lacking multitrack flexibility, two track recording serves many purposes with minimal equipment and complexity.

Basic Concept

Two track recording captures left and right channels simultaneously, creating a stereo audio file. This could be the main mix from the console, a stereo microphone capture, or any other stereo source.

The mix at recording time becomes the permanent mix. Balance decisions, EQ choices, and effect levels are fixed. Post-production can adjust overall tone and dynamics but cannot change relative levels between instruments.

Simplicity is the main advantage. Minimal equipment, straightforward setup, and small file sizes make two track recording accessible and practical.

Recording from the Console

Main outputs provide the exact mix going to the PA. Connect recorder inputs to main output jacks; the recording captures everything.

Record outputs on some mixers provide dedicated outputs for recording, sometimes with independent level control. These may be pre-master fader, capturing the mix without master fader position affecting recording level.

Matrix outputs can create dedicated recording mixes. A matrix fed by the main bus but at fixed level provides consistent recording regardless of master fader riding.

USB outputs on digital mixers send the main mix digitally. Many consoles can record directly to USB flash drives with no external recorder needed.

Standalone Recorders

Portable recorders from Zoom, Tascam, and others provide self-contained recording solutions. Models like the Zoom H4n, H6, or Tascam DR-40X accept XLR or quarter-inch inputs from mixer outputs.

Built-in microphones on portable recorders enable audience-perspective recording without additional mics. Place the recorder in the audience for room capture.

File format options include WAV for highest quality or MP3 for smaller files. Always prefer uncompressed formats (WAV, AIFF) for master recording; compress copies later if needed.

Battery operation allows placement anywhere without power concerns. Verify battery life covers the expected performance length.

Level Optimization

Set recording levels conservatively. Peaks should reach approximately -6 dBFS, leaving headroom for unexpected loud moments.

Monitor input levels during soundcheck to find appropriate gain setting. Performance energy often exceeds soundcheck levels—leave extra margin.

Limiters on recorder inputs protect against transient peaks. Enable limiting as a safety net while setting levels to minimize its action.

Avoid digital clipping at all costs. Clipped recordings cannot be repaired; the harsh distortion is permanent.

USB Recording from Digital Mixers

Many digital mixers record directly to USB flash drives. The Behringer X32, Yamaha TF, Allen & Heath SQ, and others include this feature.

The recording captures the main mix in stereo, typically post-master fader. Some mixers allow selecting other outputs for recording.

Format is typically WAV at the console’s internal sample rate (usually 48kHz). File size depends on performance length.

Verify USB drive compatibility. Not all drives work with all mixers; test before critical recordings.

Computer-Based Recording

Audio interfaces connected to computers record mixer outputs through DAW software. Even a simple two-channel interface captures stereo recordings.

DAW software provides visual monitoring, automatic file organization, and editing capability. The computer screen shows levels and recording status.

USB interfaces from Focusrite, PreSonus, and others provide reliable recording at reasonable cost.

Computer reliability matters for recording. Disable notifications, unnecessary software, and anything that might interrupt recording.

Audience Microphone Recording

Microphones placed in the audience capture what listeners actually heard. Room acoustics, crowd response, and spatial character are included.

Stereo microphone techniques (spaced pair, XY, ORTF, mid-side) capture dimensional audio. Technique choice affects stereo width and character.

Condenser microphones capture full frequency range. Small-diaphragm condensers (like the Rode NT5 or Audio-Technica AT4041) suit live recording well.

Placement in the audience at ear height, facing the stage, captures a listener’s perspective. Avoid positions too close to speakers or in acoustic dead spots.

Combining Board and Audience

Dual recording captures both board mix and audience perspective. Two separate stereo recordings can be blended in post-production.

The board mix provides clean, direct sound. The audience mix adds room ambience and crowd energy.

Blending these in post-production creates recordings with clarity and spatial character neither alone provides.

Time alignment between recordings may be necessary. The audience recording arrives slightly later due to sound travel time.

Post-Recording Workflow

Transfer files from recorder to computer immediately. Verify files play correctly and are complete.

Create backup copies before any editing. Never edit the original file; work on copies.

Listen through the entire recording noting any issues—clipping, dropouts, or unwanted noise.

Basic mastering (EQ, compression, limiting) can improve the recording’s listenability without changing its essential character.

Quality Considerations

Recording quality depends heavily on the live mix quality. A great recording cannot come from a poor live mix.

Consistent levels throughout the performance make for easier listening. Riding the master fader during recording creates level variation.

Room noise, audience talking, and other ambient sounds are captured with audience recordings. Accept this as part of live recording character.

Two track recording documents the performance as it happened—imperfections included. This authenticity has its own value.