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<blockquote data-quote="Eric Cagle" data-source="post: 98718" data-attributes="member: 277">Re: Every live sound engineer should spend a little time in a recording studio.This is to both Jay and Geri. There is much that a live engineer will bring to the recording studio environment as well. The biggest single thing that comes to mind is being laid back and not anal-retentive. The idea of moving a microphone in 1/4 inch increments to get &quot;the best possible sound physically possible&quot; and at each position changing the angle a couple of degrees is really absurd when you think about it, and it is even more absurd at $150 per hour. Now add in changing preamps multiple times. This is an extreme example but things like this really do happen. The more experience you have the more you realize that there is a position or two and a particular microphone that will work just grand and sound great for a fairly wide range of distance. In live sound we have to mic closer to have less stage wash.&nbsp; As far as a &quot;high stakes&quot; project Just keep in mind that most of the folks will be listening to it on a mp3 through a system that probably cost way less than $100. A good band and a good song well mixed won&#039;t sell one more copy if it was recorded in this or that studio or in someone&#039;s basement if it is done well. I am sure it is going to turn out well. Of course we want to do the best job we can and use the best equipment we can get but what ever equipment you use doesn&#039;t compare at all to how good the band plays and how good of an engineer you are. If you have an experienced studio engineer to have a second set of ears all the better but I bet it won&#039;t be too drastically different than what you come up with. You have a big advantage in that you know what they sound like live. An experienced studio engineer can help with the &quot;translation&quot; factor if you are not comfortable with that yet.I have said this before. It doesn&#039;t have to be within 1/2db of the way I would do it, it just has to be great.</blockquote>

[QUOTE="Eric Cagle, post: 98718, member: 277"] Re: Every live sound engineer should spend a little time in a recording studio. This is to both Jay and Geri. There is much that a live engineer will bring to the recording studio environment as well. The biggest single thing that comes to mind is being laid back and not anal-retentive. The idea of moving a microphone in 1/4 inch increments to get "the best possible sound physically possible" and at each position changing the angle a couple of degrees is really absurd when you think about it, and it is even more absurd at $150 per hour. Now add in changing preamps multiple times. This is an extreme example but things like this really do happen. The more experience you have the more you realize that there is a position or two and a particular microphone that will work just grand and sound great for a fairly wide range of distance. In live sound we have to mic closer to have less stage wash. As far as a "high stakes" project Just keep in mind that most of the folks will be listening to it on a mp3 through a system that probably cost way less than $100. A good band and a good song well mixed won't sell one more copy if it was recorded in this or that studio or in someone's basement if it is done well. I am sure it is going to turn out well. Of course we want to do the best job we can and use the best equipment we can get but what ever equipment you use doesn't compare at all to how good the band plays and how good of an engineer you are. If you have an experienced studio engineer to have a second set of ears all the better but I bet it won't be too drastically different than what you come up with. You have a big advantage in that you know what they sound like live. An experienced studio engineer can help with the "translation" factor if you are not comfortable with that yet. I have said this before. It doesn't have to be within 1/2db of the way I would do it, it just has to be great. [/QUOTE]

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