Guitars I used on my newest project. What are your choices for recording guitars?

[Toby Walker]

Originally Posted by Mystery123

I'm surprised that you use Yeti to record.
I find that mic fine for vocal podcasting but really bad for instruments.
I tried different modes like 8, omni, cardioid and stereo but none of them sound as good as a cheap cardiod xlr mic like a EV ND767a or AKG D790.

The results have actually been pretty good. You have to remember that I'm using that mic for vocals as well.

[Toby Walker]

Originally Posted by rick-slo

I like to record with the guitars I own. Can't comment on other guitars other than a few roadtrip guitars I recorded.

What often happens is I will work on composing some new tune on a particular guitar (somewhat randomly chosen) and then become attached to that guitar for that tune and then record on that guitar.

Yeah, I can't tell you how many times I've done the same. For my last CD I pretty much composed and arranged everything on my '56 D-18, so it was a natural choice to use it in the studio. Worked out well.

[Toby Walker]

Two observations:

One, that Hauver is one fine instrument.

Two: just what do you have in that bottle there son?

Originally Posted by JohnDWilliams

My most recent country blues album has a Gibson L00/Blues King, a Hauver Blind Blake, and a Republic parlor resonator. Oh, and TX whiskey.

https://johnwilliams.hearnow.com/aco...in-just-playin

The Yeti is a great mic for what you are doing, Toby. Can’t wait to hear it when you are done.

[AMW]

For our last album, I used my custom Trevor Healy RM (small jumbo) in Adirondack/Cuban mahogany for the majority, plus a Collings CJ35 in Sitka/mahogany on a couple things.

My co-guitarist used a 12-fret dreadnought German/EIR and two Waterloo-style L-00s that I built.

Lots of pics of the process here: https://medium.com/recital/pairdown-...o-a17969f71af0 and you can hear the results here, if you're interested: https://pairdown.bandcamp.com/album/reach-to-ring

Can't wait to hear you on that WL-S, Toby!

[Mystery123]

Originally Posted by Toby Walker

The results have actually been pretty good. You have to remember that I'm using that mic for vocals as well.

I see.
What mode do you use and what gain level?
I'll try similar settings.
So far I find Yeti recording thin and tinny.
thanks

[rokdog49]

Originally Posted by ChrisE

I've only been to a recording studio once, and the producer/engineer/studio owner recorded my 1980's Sigma direct with a Dean Markley soundhole pick up. It was the only guitar I had at the time and I wasn't really familiar with the nuances of various guitars. It was just "my guitar."

Upon listening to the playback, I commented that the tone really didn't sound too great, and I was pretty disappointed in the recording.

The guy said, "You don't like the way it sounds? How about this?" and then he hit a few buttons on the console and then it sounded like a mic'd D-18.

"How about this one?" and it switched to another tone. We went through a couple of different ones in about 30 seconds and I didn't complain about my tone again.

And there you have it ladies and gentlemen.

[ManyMartinMan]

My favorite guitar to,record is my 000-18. Always sounds sweet. If I want funky over sweet. I use my 50's Kay Airline.

[Markini]

Toby,
re:"1900 or around then, Columbia Parlor guitar.
Perfect for playing Mississippi Fred McDowell."

I find the stringing from the nut to tuners very intriguing. Artwork methinks, may not be practical on modern acoustics (I don't know) but I appreciate you being true to the genre and the times. Historically interesting and entertaining.

[jaybones]

I'm nowhere near as sophisticated as some of the recording setups here, but my "home studio" consists of an M Audio M Track USB input device, into my laptop with Reaper. My acoustic has an UST, and with some of Reaper's effects (along with running it through an Alesis processor) I can get what I think is a pretty good tone.

Occasionally I'll use a Shure SM57 or a Shure speaker mic that a former singer, whose father was a pastor borrowed from his church, in the bathroom (best acoustics in the house) and record vocals and guitar at once. I'll often use this setup to record my Yamaha classical (with fingers as well as some nontraditional picks- jazz III lightly and felt) or my Yamaha FG 420-12 (normal Tusq A2 1.0 pick).

I'll often double melody lines with either the classical (using either pick) or the 12 in a modified Nashville tuning (D second string tuned to A, G second tuned to D).

[Toby Walker]

Originally Posted by Markini

Toby,
re:"1900 or around then, Columbia Parlor guitar.
Perfect for playing Mississippi Fred McDowell."

I find the stringing from the nut to tuners very intriguing. Artwork methinks, may not be practical on modern acoustics (I don't know) but I appreciate you being true to the genre and the times. Historically interesting and entertaining.

I'm not sure what you mean. Here is a closeup of the Columbia and one of my 2017 Waterloo. Both are strung identically.

[Toby Walker]

Originally Posted by Mystery123

I see.
What mode do you use and what gain level?
I'll try similar settings.
So far I find Yeti recording thin and tinny.
thanks

I use the cardioid pattern with the gain at around 11:00. You can also adjust the equalization in any recording program. I'm using Audacity.

[JohnDWilliams]

Toby (and others): what's the rest of the process look like? Send it out for mastering? Duplication? Promotion?

For me I've mastered the last few projects myself using a TC Finalizer. Getting pretty favorable results compared to other pro-mastered CDs.

Since I do all instrumentals I have to work a bit to assign names to the tracks. Sometimes the names are obvious but not often. Then have to do the artwork and write a little blurb.

I use Kanaki for duplication but don't end up getting too many CDs made. CDs don't sell much these days and Kunaki lets you do very small runs.

I upload the tracks to CD Baby and they handle most of the digital distribution, iTunes, Spotify, etc., and some of the PRO stuff. Have to do Pandora separately. Have to do registration on SoundExchange separately too.

Once Spotify and iTunes have the product up I use CDBaby's HearNow service to do a one-page website which works pretty well and is cheap. I then run ads on Google and FaceBook for the HearNow page.

I also do a radio one-sheet for the new project and use addresses from the Indie Bible to send it out to regional radio stations.

It takes several months for everything to get in the pipe but it's totally worth it. Toby has posted here about being able to earn a living in the music industry and he's totally correct.

[tippy5]

Nice set of tools Toby. I can't wait to hear your new music.

For me I like the 000-18 for recording. I have a 6 string Deering Vega openback banjitar, a 12 string and some nice keys for flavors. I wish I had your Triolian and that parlor!

For doing slower dramatic finger style things I love my macassar Goodall standard. No low mid mud with this heavy wood. Have to back the KM184 back a foot though. For some rhythm tracks I enjoy my Redwood/IR Goodall standard perfectly balanced and has a higher, yet lush, timbre.

Sometimes I get out my performance guitars which are my J45's and GC koa Goodall. But for ease of recording the smaller 000-18 is easier to record when the song is more important than dense guitar structure.

[Toby Walker]

Originally Posted by JohnDWilliams

Toby (and others): what's the rest of the process look like? Send it out for mastering? Duplication? Promotion?

For me I've mastered the last few projects myself using a TC Finalizer. Getting pretty favorable results compared to other pro-mastered CDs.

Since I do all instrumentals I have to work a bit to assign names to the tracks. Sometimes the names are obvious but not often. Then have to do the artwork and write a little blurb.

I use Kanaki for duplication but don't end up getting too many CDs made. CDs don't sell much these days and Kunaki lets you do very small runs.

I upload the tracks to CD Baby and they handle most of the digital distribution, iTunes, Spotify, etc., and some of the PRO stuff. Have to do Pandora separately. Have to do registration on SoundExchange separately too.

Once Spotify and iTunes have the product up I use CDBaby's HearNow service to do a one-page website which works pretty well and is cheap. I then run ads on Google and FaceBook for the HearNow page.

I also do a radio one-sheet for the new project and use addresses from the Indie Bible to send it out to regional radio stations.

It takes several months for everything to get in the pipe but it's totally worth it. Toby has posted here about being able to earn a living in the music industry and he's totally correct.

Hi John,

I've already published 11 CD's and even a few albums on cassettes, so I'm breaking new ground with this set of songs that will only be available as mp3 downloads from my site. As I have literally no physical printing limitations when it comes to artwork or text, I can thus include as much as I want in this fashion.

I basically keeping the levels to each song consistent and depending on the final outcome, I may thus not need to have any mastering done.

So far my only costs are that of having a guy who produced several of my CD's be my second set of ears and my graphic designer, who is working on the 'cover' art. There may be licensing fees of course, but they won't amount to much.

Promoting it, at least for me will be a snap. I have a fairly substantial email list worldwide and the feedback from social media has been quite exciting.

Selling it will also be easy: $11.95 via Paypal. The 'product' - a link to the website page - will be delivered via email. Thus, no mailing costs. At my performances, people will be given a business card with the web page address printed on it.

[Toby Walker]

Originally Posted by tippy5

Nice set of tools Toby. I can't wait to hear your new music.

For me I like the 000-18 for recording. I have a 6 string Deering Vega openback banjitar, a 12 string and some nice keys for flavors. I wish I had your Triolian and that parlor!

For doing slower dramatic finger style things I love my macassar Goodall standard. No low mid mud with this heavy wood. Have to back the KM184 back a foot though. For some rhythm tracks I enjoy my Redwood/IR Goodall standard perfectly balanced and has a higher, yet lush, timbre.

Sometimes I get out my performance guitars which are my J45's and GC koa Goodall. But for ease of recording the smaller 000-18 is easier to record when the song is more important than dense guitar structure.

I've always been partial to mahogany over rosewood for recording, at least for the type that I do, so I can relate to your use of the 000-18.

It's interesting how you use your Goodall/Redwood for the rhythm tracks. Must sound nice.