Concert recording specifications

Concert Recording Procedures

Not all concerts and recitals are recorded by the MRT program. For approved spring events, MRT 279 Tonmeister Recording will cover selected events. You will not be paid for a class-related recording, but will be compensated for all others as indicated below.

Except for class-related events, engineers for all recitals will be assigned by the studio manager. You are then responsible for your event. If you cannot make a certain date, then it is your responsibility to find a replacement and trade dates. You must notify the studio manager of any changes so everyone can be paid accordingly.

Major ensembles, includng jazz band and chamber choir, will require two engineers who will each be paid equally. All other events will require one engineer. In all cases find assistants who can help, but who will not be paid.

You MUST contact the primary recitalist/conductor at least two weeks before the event to see what’s going on. Make sure everyone agrees to the proposed equipment setup, recording of rehearsals, etc. See specific guidelines below.
Getting paid

You will be paid by the end of the semester once all materials have been submitted and verified. Payment schedule is as follows:

All requested student recitals will be recorded by one engineer and paid a flat fee of $35 for basic recordings and $55 for mastered recordings.

Requested small ensembles will be recorded by one engineer and paid $35.

All large ensembles (and others as designated) will be recorded by two engineeers who each will be paid $55.

For you to receive payment you must file the appropriate tax paperwork with the business office (one time only).
Recording guidelines

There are different requirements for various events. Carefully note the following:

Student recitals: We provide either a basic or mastered recording as requested. The studio manager will inform you.

Basic: Simple stereo miking straight to CDR. Manually insert track IDs (turn auto ID off) as the program progresses. Finalize the disc at the end of the performance and submit to the studio manager (not the student) the next day. Do not make any copies whatsoever.

Mastered: Simple stereo miking straight to CDR. Requires editing in the computer for clean fades, breaks, and track IDs. EQ and NR as necessary. Make absolutely sure the disc is perfect before submission to the studio manager (within one week).

Small ensembles: These are only recorded as requested and are solely for educational purposes. Simple stereo miking straight to CDR is the common method. Manually insert track IDs (turn auto ID off) as the program progresses. Finalize the disc at the end of the performance. Submit to the studio manager–NOT the director/conductor.
Large ensembles / others: These will be recorded by two engineers because we expect a greater effort to ensure a quality recording. You MUST do the following:
Determine a recording plan and meet with Prof. Hill the week before the event. A simple stereo setup is usually not sufficient for these events.

Attend the dress rehearsal and experiment with miking methods.

Record the event to CDRW and multitrack as desired.

Master the final recording with careful EQ, NR, clean fades, etc. Verify the disc is perfect before submission to the studio manager.

 

What to submit

Submit the following in the space designated by the studio manager:

• Master CDR – finalized
• Concert Recording Log Sheet(s)
• One complete copy of the program
• Inserts for all CDs that will be copied for performers and conductors. These must be cut from the original concert programs, sized to fit into a standard jewel box. See studio manager for number of inserts required.

All submissions, excluding basic student recitals, must be made to the studio manager within two weeks of the event or you will not be paid.

You are responsible for quality control–check everything on the CD before you submit it.

Erase any files on the Alesis HD24 and computer when master is completed.

 

On-site guidelines

Dress professionally at all times.

Start recording and fade in when performer begins walking onto stage. Fade out and stop at intermission – same procedure for second half. Record all applause and fade at end. Do not perform any abrupt level changes during recording. Get levels during rehearsal and/or warm-up.

Label CDR with Event and Date.

Log Sheet:

The log sheet includes technical and timing information; fill out form completely. Include start and end times for each piece or movement and make sure it corresponds with the concert program.

All equipment must be replaced to its proper location after the event.