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Re: LAL recording techniques




>WF correctly pointed out that most live recordings are made directly from the
>board, and the in-hall sound has virtually no effect on the final sound.

Mason:

The low volume of the audience in LEEDS suggests that it was indeed taken
from the board. What audience noise that appears would be from the mikes.
Personally, I think that The Who were just that good during that period
(without arguing which version of what song is best)...and that's why LAL is
so good. And the show was set up to be recorded as an album, unlike the
usual method (at the time) of recording all the shows and taking the best.
In which case they production value would naturally be lower, as they
wouldn't have quite the set-up.
And this is in line with later Who live recordings, which were recorded in
the usual way and don't have quite the impact or faithfulness to the
original that LAL has.

>However, classical live recordings are made in an entirely different way - by
>placing 2 microphones over the orchestra. I don't know this to be the case,
but >I wouldn't be surprised if they both recorded the event straight from
the >board, and had some hall miking which they could mix in as need be for
the >final recording.
>Just a thought - does anyone have any idea if this is really the case?

I remember that Lou Reed made some effort in the `70s to record a live album
from the audience's perspective...by making "heads" suspended over the crowd
with the mikes on the side like ears. Whether or not this resulted in the
excellent ROCK AND ROLL ANIMAL & LOU REED LIVE, I can't say (`cause I'm not
sure exactly when he did it). But I don't hear anything on those two that
differ significantly from other live albums...they are both well recorded,
but not much more than any other.
And most live recordings do have the audience miked...as I said, if it was
just from the board you would only hear the crowd through the mikes.

 Cheers                      ML