The Challenges Of Live Recordings

Making a high-quality audio recording in a recording studio is one thing, but making a similar recording at a live concert has its own challenges. Neville Roberts flies out to Venice, Italy, to investigate.

- Neville Roberts

I’ve been fortunate to be able to attend a number of recording sessions in recent years. The aim at each session has, of course, been to produce audiophile-quality recordings either in high-resolution digital format or in the best that analog has to offer in terms of professional master tapes on quarter-inch, half-track, 15 IPS tapes, and direct-to-disk LPs. Most of these recording sessions have been held at recording studios, where everything to do with the recording, from the acoustic environment through to the recording systems and microphones mixing, can be controlled to produce the final stereo mix. Of course, direct-to-disk recordings can only be undertaken at a studio that has the lathe and the supporting equipment required to cut the master lacquers.

Making a recording at a live venue with a live audience is a completely different process altogether. So, when I was offered the opportunity to attend such a live recording event, arranged by the audiophile record label Chasing The Dragon, I was very keen to attend. Then, when I found out that the event would involve recording a series of live concerts showcasing one of my favorite genres of music, Italian baroque, my excitement increased. To top it all, the concerts were to be held in the world renowned and beautiful San Vidal Church in Venice, Italy, and all I had to do was to get myself there in mid-April 2018 to witness the recording sessions first-hand.

The Performers