I still say check your 4-track documentation for bouncing tracks. There's usually a way to route tracks 3-4 into tracks 1-2 so you can do a mix in the 4-track itself--freeing up the extra channels--without mixing out to another source. That way you have flexibility in different recording methods, to use or not use as you wish. If you don't want to use the ambient tracks or board-mix tracks, just record your overdubs over them without bouncing.

Also, whenever talking about 4-track recording, you're pretty much limited to "the most basic manner possible" no matter how fancy you try to get with it.

I've done plenty of live recording of shows using a 2 track or 4 track. I can count the number of times the house system was a stereo mix on zero hands. It is almost always mono. Damn near always.

Record your board mix to track 1, stereo mics to 2 and 3, and you have track 4 left for your overdub track. If you need more than one overdub track, you can bounce your board mix and one of the two room mics to a mono mix on track 4, and then have tracks 3, 2, and 1 for overdubs.

The idea of overdubbing on top of live recordings is very foreign to me. What are you going to add?

gio wrote:I still say check your 4-track documentation for bouncing tracks. There's usually a way to route tracks 3-4 into tracks 1-2 so you can do a mix in the 4-track itself--freeing up the extra channels--without mixing out to another source.

Indeed there is, but the problem I've had so far is that there is often a large-ish loss in fidelity of the bounced material. It may just be exclusive to the quality of the machine itself (not top shelf), but I've got a 424 MKII on the way from Ebay that may be better at it.

scott wrote:The idea of overdubbing on top of live recordings is very foreign to me. What are you going to add?

I like the idea of having some foreign radio announcer (or other sound stolen off some shortwave station) "introducing" before the song starts, or overdubbing the sounds of a stadium full of people at the beginning and leave only the applause of the 6 or 7 who actually showed up at the end. I don't know, these are off the top of my head, but you get the idea.

I think a lot of music holds up well in a live setting because you have the spectacle to watch and keep you interested, but on record that (obviously) doesn't come through as well. So just to liven it up (without buggering with the performance), use some other sounds for texture. Or something.

Freger wrote:I've got a 424 MKII on the way from Ebay that may be better at it.

A-ha! The 424mkII has a speed-switching capability, so your mixdown tape can be used directly in the 4-track. I've done it many times.

Problem solved!

Use two room mics (like PZM's) and use as stereo pair? Use two room mics (like PZM's) and use as stereo pair? Use two room mics (like PZM's) and use as stereo pair? Use two room mics (like PZM's) and use as stereo pair? Use two room mics (like PZM's) and use as stereo pair? Use two room mics (like PZM's) and use as stereo pair? Use two room mics (like PZM's) and use as stereo pair? Use two room mics (like PZM's) and use as stereo pair?

do that and play .