Back in the heyday of the Grateful Dead, a special sub-scene emerged: The Tapers. Not to confused with tapirs, an exotic animal, Tapers would record the live shows to share with other people later.
Does that sound familiar?
I would argue that, in many ways, livestreaming your show is a new form of taping. It’s an attempt to capture part of the experience so as to give something to your current audience, and hopefully reach some new enthusiasts as well.
The thing with taping or livestreaming is that the physics and logistics have not really changed. Sure, the delivery endpoints are different, especially with livestreaming being a whole bunch of intangible data being fired over the Internet, but how you get usable material is still the same. As such, here are some hints from the production-staff side for maximum effectiveness, at least as far as the sound is concerned.
1) Directional microphones are your friend.
While it might seem like a good idea to grab a wide, or even 360 degree soundfield, you will generally get a better result overall by being selective. Especially if you’re streaming from a bar or club, it’s really not a great idea to capture all the conversations, room reflections, and general disruption happening around you. A full-on shotgun mic probably isn’t necessary; Just find a decent cardioid or super-cardioid and point it at what you want to hear.
2) Keep your gear out of the way. Super out of the way, actually.
Audiences have an incredible ability to walk into, stand on, swat, and otherwise mess with your recording setup, often without even trying. Endeavor to find a spot where your streaming goodies are protected from the general public. The audio human’s spot can be pretty good for this. Just remember to ask politely first.
3) Run your own gear as much as possible.
As a sound operator, I am (as a rule), happy to help by pressing record on your device. However, it’s important to understand that the start of a show can be a bit like getting an airliner off the ground: A lot is going on that requires my close attention. I may end up forgetting to hit the little red button. If you can do it yourself, that’s much better.
Also, if there is any complexity at all to getting things rolling (beyond just pressing the aforementioned button), you really should take care of it yourself. It’s THE way to ensure success.
4) A direct feed might sound better, but…
…remember that many direct feeds are just a split from some output, often the main bus. There are many rooms and situations where the main bus is carrying a ton of vocals and just a touch of a few other things. Unless the PA is truly doing all the heavy lifting, you may find that a line-level feed isn’t musically balanced.
I like clean audio as much as anybody – maybe even more – but I can also recognize when “clean” isn’t necessarily the best capture of the show as a whole.
(There are some ways around this conundrum, but they are beyond the scope of this article.)
5) If you want a feed, please do your advance work.
Find out the day before, or earlier, what kind of connections and signals might be available to you. Sometimes, it’s easy for a sound tech to get something sorted out for you…and sometimes, it’s nearly impossible. The difficulty generally rises as the amount of time before the show decreases.
And please, please, educate yourself on the different kinds of audio connections that you might run into, and have your own adapters. Again, when speaking for myself I can say that I’m happy to help out in whatever way I can – but it’s always best when YOU are “Johnny On The Spot” in terms of having what you need to make your own gear play nicely with everything else.