What prompted me to write this post (and the previous) was the degree of satisfaction I got from doing the hands-on mix of a rather complicated song. This particular singer was more oriented toward performing in the room rather than remembering we were capturing the performance via the microphones (funny, because he's very good at being on-mike in the worship team setting). So he dropped in and out in funny ways related to when he turned his face toward another 'character' - these things need to be corrected, or at least minimized, in the mixing process. This particular song also had an internal narration and a choral section, so at some point in the song every microphone needed to be turned up to specific levels, which would change and shift throughout the song, but because of the pedal clunk of the live piano sound (see previous entry) I couldn't leave the microphones on through the whole song or there was too much bleed-through.
And it's really fun for me to figure out what I need to do and create a mental road map of the work and then do it all in live time - very exciting! And I really don't know why it's exciting to me. Hmmmmm.
Now the challenge is learning to be content with the reality of its massive imperfections because live performance standards are quite different from studio performance standards, and understandably so: there's so much energy in live performance that a clunker of pitch goes by and is quickly forgotten - but you capture a recording of the moment and you can listen to it over and over and over again... *sigh*.
This is definitely "live" and I need to be okay with that...
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