#16
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The mixing engineer makes it fit the mix. The mastering engineer is generally dealing with the song as a whole and making more global adjustments (exception for someone doing stem mastering which is sort of like wearing both hats).
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#17
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I have two guitars, a Gibson J-15 and a Martin 00-15m.
The Gibson is pretty hard to get to sit in the mix with strange and sometimes downright ugly overtones here and there, demanding a lot of EQ adjustments. I have tried different strings but it doesn’t help. The Martin is a little darker but the EQ on that one is very even. As a result my J-15 is my composing guitar and when time to record I almost always prefer the Martin.
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Gibson J-15 2015 Martin 00-15M 2021 Last edited by dyna; 03-12-2024 at 07:03 AM. |
#18
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The "best guitar for recording" has a lot to do with personal preference.
I love John Leventhal's recorded guitar sound and he relates at 55:00 minutes in his Truetone Lounge interview his strong preference for the Guild M-20 when he's going to do studio work: Last edited by Rudy4; 03-12-2024 at 12:16 PM. |
#19
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I have found it matters little when the guitar is the primary body of the song. Find a great sounding guitar and try to capture it's voice. But on full band mixes, with electric guitars, bass, drums, maybe keys, etc., I find that guitars with strong fundamentals and less overtone are easiest to dial in. A maple bodied guitar is my weapon of choice.
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