24 Bit Laptop recording stories

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24-bit laptop field recording

If you have linked to this page directly, please visit our summary about Our New 24-bit field recording system for details about the system we are now using for live audio recording. If you are intrigued by the concept of recording to a computer in the field, please read Demystifying Laptop-Based Audio Recording.

We are really excited to be able to share so many success stories from our pioneering efforts recording 24-bit live music in the field. While many studio engineers are already utilizing this technology, few have been able to achieve it away from the luxury of AC. The following stories should appeal to anyone who specializes in remote recording. While live music is our main focus, we will add stories of ambient recording and sound effects collections that we will be developing soon.

Phil & Friends-Fillmore Auditorium--Denver, CO 04/05/02

For field recording, we have been using the Multiset from Nuendo (a.k.a. Multiface from RME) for a couple weeks now.

At this show we set up a four track recording as follows:
DPA 4022>Lunatec V2>Sonic AD2K+>Multiset S/PDIF in and AKG 483>Sound Devices MP-2>Tascam DA-P1) using the analog signal (actually from the P1 since there weren't other V2's nearby) into the analog input channels 1 & 2 of the Multiset.

In order to record four tracks simultaneously, we used SONAR from Cakewalk. While I prefer Nuendo from Steinberg for my mixing, editing, and production, SONAR (approximately $300.00) is easy to use and setting up templates in advance makes recording as easy as hitting the "new file" button, selecting the template and hitting the "R" key. For those with a parallel port and a $1,000.00 software budget, Nuendo with it ASIO drivers and user friendly interface, is unparalleled.

Multitrack software also presents some interesting options. While Nuendo is a great post-production system, the parallel port requirement for copy protection is a hassle. Many expected that a USB hub with parallel port would solve the problem but it does NOT. Fortunately, SONAR is easy to use and once templates are created, recording is a breeze.

For testing, I ran two parallel recordings for nearly two hours at 24-bit (just to push the machine)/48kHz as two stereo tracks using a Panasonic 3800 analog out to Multiset analog in and 3800 digital out to Multiset digital in. After a bit of a learing curve, a couple hour investment with the manual, I was ready for field endeavors.

The most exciting accomplishment took place at the Phil show. Instead of running two stereo .wav files, I recorded each channel as a mono file including S/PDIF in left and S/PDIF in right for a total of 4 independent mono tracks. As a result, it is possible to record 24/48 for up to 4 continuous hours and stay under the 2Gb file size of .wav.

Editing is still easy. I chose to import the files into Nuendo and create grouped channels of each stereo pair in order to simplify all edits. Time alignment between each pair is maintained and they can be lined up with other source/channels quite easily. I believe the same is possible in SONAR but I haven't worked with it enough to be sure.

For the entire three day Bluegrass Festival, we utilized two computers to run equipment comparison tests, audience recordings, and even let the festival archivist, audition the system with a soundboard feed. With the exception of selecting the wrong drive on one occassion, the equivalent to using a shorter tape than necessary, we captured over forty hours of material. For the first time, we implemented the Electrofuel Powerpad 160 ,that little orange pad under the V2 on the left picture above, for powering the Lunatec V2 and Benchmark Sonic AD2K+. This 2 pound battery ran both pieces of equipment for the entire day. Now, we have run the entire DCW-1, pictured above on the left, system for five continuous hours using the Powerpad 160 for all three components. Our complete 24-bit Hard Disk Recording system now weighs under 12 pounds. Later, the five pound DCW-2 ,pictured above on the right, had a very exciting application backstage on Saturday night when David Grisman, Pete Warnick, Jason Carter, Ronnie McCoury, and many friends picked without a PA until 4a.m. Once again, we caught every note.

In yet another fine night of recording, we captured 2 hours and 45 minutes of uninterupted Dave Matthews Band. Although the SONICORDER already contains an internal 30GB HD, we opted to experiment with the external DC powered hard drive adapter, pictured above. This enables the SONICORDER to offer unlimited storage potential away from AC power. Using a firewire 4-pin to 6-pin adapter, we recorded directly to the external storage without ever using the C1's hard drive space.

Having filled up a flashcard with images of soundcheck and all the pre-show fun, we didn't capture any shots of SONICORDER at this run of shows. Still, for three consecutive days, we captured note after note. The only tough learning experience is that .wav files have a 2GB file size limit. This equates to two hours of recording time and only a few special software packages get around this issue. We have recently discovered that Wavelab from Steinberg has a great way of recording for countless hours without interuption while maintaining compatability with all workstations that read .wav files.

This great run of shows marked the first time we recorded in high-humidity, direct sunlight, and a variety of adverse circumstances. Still, we captured nearly 10 hours of uninterrupted String Cheese at their finest. Prior to utilizing outboard firewire hard drives, we off-loaded these recordings to CD's backed up using lossless audio compression. To play them back, we simply insert them in the CD-R, decompress, and play using any software and soundcard that supports 24-bit .wav files.

In the earliest days of experimental system development, it took nearly 10 hours preparing a machine for optimal sound recording performance. We now have a team ofcomputer professionals delivering the highest-quality system designs with the best recording options ever. While many computers can be outfitted to record audio, we offer turnkey systems and can help you determine if a custom design is achievable on your current laptop. As computer recording is still quite new for many people, we recommend reading Demystifying Laptop Recording.

The Funky Meters--3/24-25/01--Fox Theater, Denver, CO:

Our first official 24-bit recording with a system of our own. While these machines featured much smaller hard drives and were not as versatile as those we offer now, it sure got the ball rolling.

Since the Sony VIAO with VX Pocket doubles as a recording and playback device, a recordist can immediately playback recordings. Simply plugging the VX Pocket's analog outputs into the home stereo or studio monitors sounds really nice. For added sound quality, and optimal 24-bit performance, the S/PDIF output from the card can be sent to an outboard DA converter like the Lucid DA9624.

For anyone who is interested in hearing these recordings, you will need audio software and a soundcard or Digital-to-Analog converter that supports 24-bit files. We will happily send complimentary copies to anyone who inquires. We look forward to sharing these recordings and our experiences as we learn more about this latest recording development

Phil Lesh & Friends--2/9-10/01--Fillmore Auditorium, Denver, CO:

This show was the deciding factor that facilitated our jump into 24-bit field recording. Although we had previously used an Apogee PSX-100 with a Tascam DA-38 to achieve 24-bit/96kHz recordings of Dave Matthews and Tim Reynolds, as well as quite a few String Cheese Incident shows, the power demands and overall size deem this method less than desirable in remote locations.

Participating in a friend's success on this particular evening, and coming home to hear the results, made it clear that we had to take the plunge. While our DAT tapes are an enjoyable reminder of a fine evening of music, hisrecordings were true representations of what The Fillmore sounded like at the show. This system, comprised of SCHOEPS cmc-6/mk.41 hyper-cardioid capsules, Audio Magic X-Stream microphone cable, the Lunatec V2 pre-amp and the SONIC AD2K+ along with the SONY VAIO with the help of the Digigram VX Pocket, proved just how much more lays beyond the confines of 16-bit recording devices. Through taking the 16-bit feed from the AD2K+ to an HHB Portadat, while simultaneously feeding the VAIO with the same AD2K+'s 24-bit feed, we had a true A/B comparison that would forever change our perception of digital recording.

While it almost defies explanation, the 24-bit recording actually reveals layers of music that are imperceivable on the 16-bit DAT tape. In one particular section, a listener can actually hear five distinctive piano notes on the computer-recorded version whereas the same passage sounds like a couple clinks on the keyboard when heard on the DAT. In the 24-bit version, Phil's articulate bass playing stands out as clearly separated from kick drum and his precise starting, stopping, and manipulation of the strings is fully portrayed.

Lately, along with picking up recording equipment, folks are finding themselves spending more time in our office listening to our 24-bit recordings. It's a lot of fun to see the jaws drop as we make the switch from the 16-bit DAT tape to the 24-bit computer recording. One listener summed up the difference by saying, "It's nearly as dramatic as the difference between a cassette and a DAT. By comparison the DAT sound mushy, undefined, and somehow, it nearly seems hissy." While that may be an extreme interpretation, no one who has visited our office to hear the comparisons has been less than amazed.