Being a guitar player and vocalists I rely on visual cues- for me, if I get to the point where I can play the song with my eyes closed... I probably need to play a different song... because at that point it becomes too mechanical.
With a "live" take, with everyone in the room, there's going to be mic bleed, a fact of life. I read an interview with ... I think it was George Martin, who said something tot he effect, there's going to be mic bleed, learn to embrace it, Think about a live performance- generally, the sound is everywhere... and unless you (the audience) are all dead center between the sonic "points", there's some variation from the left side of the arena/auditorium/club and the right side... I mean, the musicians don't put all the amps right in the middle in front/behind the drums.
While we can pan to our own taste, many emulate (to a degree) the position of the band- The kick and the vocalists are typically down the center, sometimes bass, or just slightly to one side, guitars and keyboards are split, as are backing vocals. Even the drum kit is panned relative to how kits are set up (seldom do you hear the hat panned opposite the snare)
Individual tracks- using a click? While this is great fro keeping the tempo, it foes somewhat rob some of the dynamics that occur from a slight hesitation, behind, in front of the beat gives a song when a band is locked in.
For experienced bands, I usually will opt for the drummer and bass (DI'd) to play in the same room. If there's a keyboardist who doesn't have a Leslie (or can live without it for a few) they're in the room (also DI), same with the guitarists (providing he/she is not playing an acoustic/semi-acoustic. The vocalists is in the control room with me (and the acoustic guitarist.
What I'm mainly after is the drummer and bass player getting a good solid foundation, everything else is/may be working/scratch tracks. And if the bassist flubs a note, we can punch that in.... I've found trying to punch in/out drummers to be problematic unless they're either going to play to the end of the song, or there is a clear defined half or full measure rest to punch out at.
If the keyboardist nails his/her part, it's a keeper- I can re-amp if needed, including running through a Leslie.
This seems to keep some semblance of live. I think where a lot of folks lose this is when they start doubling/tripling tracks and adding parts that they could not play in a live setting.
and finally, in a fully live session, NOBODY can make a mistake, so you need those flawless moments, and this is why most live albums/CD's were recorded over several nights, so they could pick the best takes.
my 2.5 cents (accounting for future inflation)
