Doug,
I was trying to hunt down the source of the hum and it was indeed the onboard pickup. I tried pointing it in different directions and turning off other offending noise-makers but the only way i can silence it is if i trun off the pickup gain pot. Nothing happens when i back down the mic pot. Any ideas how to get rid of it? |
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Sounds like it might be a grounding issue? |
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fich, I have a pz-pre with a ground lift. I'll try that 1st.
Thanks guys, looks like i got some more searching to do |
I use the SIR1 and the Bricasti M7 IRs. The link to the Acousticas site thru Rekkerd seems to be down or gone, but you can still grab them from Samplcity.
The Clear Ambiance is a mainstay for me no matter what I am working on...:D I also have to mention the Valhalla Room & Shimmer reverb's......just flat out fantastic for the $50 IMHO. :cool: |
This is how Antoine explained his setup to me, for those still wondering about it:
I use a pair of Rode NTK mics that go in a Millennia HV-3C, as well as the pick-up of the guitar(K&K trinity system mini) only for the bass. Recorded through a Motu sound card to Logic Pro in my Mac. I have a pair of old spot lights from tv station for lighting and I use a sony HD handycam. Do the editing in Final cut express. I have a black fabric for background and I place the 2 mics so you don't see them in the frame. One is above pointing at the end of the fretboard and the other is pointing at the bridge, just after the lower bout of the guitar. |
Makes perfect sense, and this is a very common approach. Mics, with a bit of pickup blended in for a little more solid bass. Works very well. Pickup alone? Not so well.
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SimplyLuo, thanks for sharing! It's a helpful resource for me :)
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thanks Doug, I'll keep that in mind
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I think that's a very good question. |
I suspect what would be most useful would be if people posted recordings and then "here's how I got the sound". There's no set recipe, it's more about understanding what each potential processing step does and applying it to achieve what you want in the order needed to achieve it. EQ's a good example, you can't really say "always do this...", it's a matter of listening, and making what ever corrections or enhancements the specific track needs. A good solo guitar recording should ideally (IMO) need virtually no EQ. As far as order, again, it depends on what you want to achieve. Applying compression then EQ achieves something different than EQ then compression. For me, the goal with solo fingerstyle guitar is to sound fairly "natural", so the number of effects is pretty small with settings that have very subtle impact. Someone else might want flangers run thru chorus run thru distortion - it's all in the sound you want, and how you choose to create it.
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My favorite microphone set up for recording acoustic guitar is M/S (mid-side). For M/S recoding you use a figure 8 microphone pointing left and right, and one cardoid
(sometimes you can get away with an omnidirectional) microphone pointing right at the source. The capsules of the microphones are lined up right on top of each other and equidistant to the source. For a starting point I generally point them at the neck joint of the guitar. Then I close my eyes and move my guitar around while playing until I hear what I want to hear in my headphones. Then I hit record. After recording the two tracks, you clone the one figure 8 microphone track, and flip the phase of the new cloned track. You now have 3 tracks (fig 8 track, cloned fig 8 track, mid track). You then then pan the original fig 8 track hard left, and the cloned track hard right. The mid track in panned directly center. In the mix you bring up the sides till they balance with the center track. The soundstage of M/S recording sounds very natural to me and very open. The Rode Classic II was the mid mic set to one-click away from cardoid (towards omni), and the Neumann u89 as the side mic set to Fig 8. I used my stereo Drawmer 1960 pre/comp for both microphones, and each channel was set to 4:1 compression with a fast attack, and med release. For the slide track I just used the the Rode Classic II, and cloned that track. I panned each one of those about 50% left and right. I also used a Waves R-Comp compressor and a PuigTech EQ plug-in on these two channels. Over the whole mix I used a Slate Digital VCC plug-in (set to Trident) and a Waves Reverb. This is what it sounds like... (better listen on headphones or monitors to hear the lowend and spread of the channels). https://soundcloud.com/daniel-weldon-1/g-string here's the Nowland SJ guitar I used... http://i4.photobucket.com/albums/y12...69/photo12.jpg http://i4.photobucket.com/albums/y12...69/photo22.jpg here's the mics and preamps... http://i4.photobucket.com/albums/y12...annmidside.jpg http://i4.photobucket.com/albums/y12...y69/photo3.jpg |
MS is very cool. Just a suggestion: I find it easier to record to a stereo track and then just use one of the many MS decoder plugins to do all the phase flip/copy channel stuff for you automatically. That leaves you with a stereo track that you can continue to process with other plugins that expect to work across a stereo track. Most MS plugins will let you vary the width, and manipulate the MS signal easily, and you don't have to go to all the trouble of manually setting up the tracks.
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