----YOUNG CAMELOT STUDIO, BEST PRACTICES--BASIC PRINCIPLES

1. Know your signal path.

2. Keep track of your tracks.
3. Troubleshoot from the end back toward the source.
4. If you have to crank it past 75%, something is wrong.
5. You can't fix missing audio.
6. It will always be louder than the soundcheck.
7. Plan ahead, then be prepared to throw the plan away
8. Put it back where you found it
9. Accept that it's your fault and work around it
10. Always trust your ears
1. Know your signal path - The signal starts at the source, then into the mic, then
cable, snake, and splitter. From there, the signal is carried by one of two cables into
either the recorder or the board, and then on to the PA and speakers. Know where every
source is eventually ending up, so that you don't have to question yourself about what
input to turn down on the PA when the kick is too loud.
2. Keep track of your tracks - Write down what is plugged into where, even making
multiple charts for different stages if necessary. If a band wants a second vocal mic but
you don't have enough stands, you need to be fearless moving the last band's guitar mic
over to the vocalist and draping a 57 over the new amp, quickly altering the way
everything is routed and modifying your cheat sheet. You won't be able to remember
that track 6 is the new track 9, so WRITE IT DOWN.
3. Troubleshoot from the end back toward the source. You know that if the sound is
going into the board, it's not a problem with the mic cable. You know that if ANYTHING
is coming through the PA, it's not a speaker problem, etc. Doing this prevents you from
trying out 3 different mics, 4 different cables, and 2 inputs before you realize you just
forgot to push a button on the mixer.
4. If you have to crank it past 75%, something is wrong - If the signal is so weak you
find yourself applying way more gain than usual, then turn the track back down and
reassess the situation. DON'T just start unplugging and hitting switches without turning
the volume back down! This is how preamps and speakers get blown. Sometimes a

weak signal is the result of a spotty cable,and when you set the volume for a loose
connection you set the audience up for hearing loss when full contact gets made. This
rule especially applies to the master output, which ultimately determines the loudest
possible sound that reaches the crowd.
5. You can't fix missing audio - The absolute worst thing you can do as a Young
Camelot sound person is neglect a sound source. Always check throughout a set that
you have every member recorded. Solo every track to identify its sound, don't blindly
trust faders. Prioritize sources. Take out a snare mic to make room for a second guitar,
since the snare will show up in the drum overheads. Don't be afraid to bus things
together, like putting a kick drum, synth, and drum machine on a single track (which we
did for Ono). If you have two mics to record 3 vocalists and a horn section, have the
groups crowd around one mic each. Two poorly recorded amps are better than one wellrecorded amp and one unrecorded amp.
6. It will always be louder than the soundcheck - The snare might be peaking at -6db
in soundcheck, but it will no doubt find a way to hit 0 during the performance. So ask the
band members to play as loud as they can, set the levels, and then take them down a
couple notches. Like missing audio, you can't fix clipped signals. Play it safe.
7. Plan ahead, then be prepared to throw the plan away - Before anyone even hits
the stage, make sure you know what they need, what to look out for, and how they can
communicate with you. Then be prepared for gear failures, the unpredictable urges of
showmanship, and random last-minute changes (guest vocalists, a surprise piano
ballad, etc).
8. Put it back where you found it - If you use a piece of YC gear, return it to where
you found it in the same condition as you found it. This simple concept we all grew up
with takes on increased importance in the studio, since cables are more likely to get
lost, stolen, or damaged if they don't get put away, and there's nothing worse than
needing something in an emergency but not being able to find it.
9. Accept that it's your fault and work around it - There is literally nothing to be won
by arguing with the performer. You might prove to them you know something, but the
recording will still suffer and you'll have an enemy for the rest of the night. Don't tell the
drummer to hit softer, don't tell the guitarist to turn up the treble, and don't ask the
bassist if he *really* needs a distortion pedal. Sometimes you might need to ask

someone to bring down the volume on a DI (since that CAN be totally out of your
control) but usually there's very little you can do and it's best to just find solutions to
problems on your end without interfering with a performance.
10. Always trust your ears - This rule trumps all the previous ones. If you've checked
and double-checked, traced your cables and talked to the artist, yet still can't figure out
why it only sounds good when you mic the back of the amp and boost the mids, then
don't worry about the reasons and just leave it be. Maybe you didn't notice the snare
drum mic was on the floor, but now it sounds pretty sweet that way - don't bother
reattaching it. Your brain will tell you this is "wrong", and it would be correct, but
ultimately your ears are the final arbiter. Trust them over all else.