Recording and releasing a live CD can be a daunting task, even for the seasoned professional. There are many issues that are out of your control such as: budget limitations, illness of key personnel, unplanned overdubs, and many more. However, there are some things you can do to reduce the stress of show day and improve the quality of your live recording.

Pitfall #1 Locked Doors
One particular church invited the recording crew to arrive 12 noon. When they arrived on time, they sat until 2:30 pm. Whoever was supposed to bring the key didn’t. This simple oversight delayed everything for the day, and pushed back the scheduled start time.

Pitfall #2 Late Musicians
For a 7 pm show time, musicians should be there around 2 pm, and ready to do a sound check around 4:30pm. Some musicians show up 15 minutes before show time and think nothing of it. Without a complete sound check, the quality of your recording will suffer. Do whatever it takes to get the musicians there on time.

Pitfall #3 Wireless Microphones
Despite many advances in technology, even the best wireless microphones don’t have what it takes to handle a live gospel recording. Wireless microphones can’t begin to handle the dynamic range of a high-quality wired microphone. And there is always the possibility of picking up interference, a situation that could force additional recording in the studio at additional cost.

Pitfall #4 Last Minute Additions
Adding instruments at the last minute pays no heed to the careful planning of the technical crew. It also cultivates an air of chaos that adds stress to the live show environment.

Pitfall #5 Omitting a “Drop Song”
A “drop song” is a throw away song that isn’t planned for the CD, and it is recommended that you put one at the beginning of the live show. Inevitably, musicians don’t play “full strength” during sound check, and the only way to accurately set levels is with a real song. If the levels aren’t set correctly, you may have distorted sounds on tape, which would have to be redone in the studio at additional expense.

Pitfall #6 Booking Late
The recording truck should be booked significantly before the expected show date. Coordinate with the venue, the live sound (PA) company and the mobile recording company before solidifying any specific dates.

Pitfall #7 Placing Drums Next To The Choir
One of the most technically difficult aspects of a live recording has to do with leakage, or the bleeding of one instrument into the microphones of another. The worst offenders are the drums, which tend to leak into choir mics. The drums and rhythm section should be either to the side, or preferably in front of the choir. Under no circumstances put the drums in back of the choir. Excess leakage creates muddy or blurred sound to your entire mix.

Pitfall #8 Loud PA Systems
Stage monitors play an important role in helping musicians and vocalists hear themselves and others. However, stage monitors also contribute to leakage into adjacent microphones. A delicate balance must be struck between allowing the stage monitors to be loud enough to help the musicians and vocalists do their job, yet soft enough to avoid problems with leakage.

Pitfall #9 Choosing The Mix Studio After The Live Recording Is Done
If you are planning to take the tape of your live recording to a studio for the final mix down, be sure that the studio accepts the tape format used by the mobile recording company. If the formats are incompatible, the only solution is to find a different studio, or do a format transfer. A format transfer can be expensive, and can degrade sound quality as well. Picking a mixing studio before the project is a wise idea.

Pitfall #10 Rehearsing On Show Day
Rehearsing is important, but singing full strength on show day should be avoided. You’ll strain precious vocal cords, and probably end up having to overdub certain vocal parts in the studio at additional expense.
Whereas a studio performance can achieve technical perfection, a live recording brings out the energy and excitement that only exists when performing in front of an audience. With attention to detail and maybe some overdubs, you’re recording will sound awesome!

Lonnie Bedell is the owner of Goin’ Mobile, a mobile recording truck serving the Northeastern US since 1987 and can be reached at www.goin-mobile.com. He is a graduate the Music Production and Engineering program at Boston’s Berklee College of Music. His articles have been published in New England Performer, The Musician’s Exchange, The Music Paper, Bluegrass Unlimited, The Love Express, Gospel Industry Today, and Gospel Unlimited.