#16
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Neither. I use a supercardioid dynamic combined with a magnetic pickup. This is because of deficient room acoustics. With an LDC the room modes are too obvious and SDC would be even worse.
The mag pickup provides a smooth bass response with no room modes and the mic provides the missing acoustic guitar sounds plus, if carefully positioned, enough room reverb so I need no effects. It's not a conventional acoustic guitar sound but I like it and I didn't need to treat my room. Check it out in my youtubes e.g. here and here.
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Yamaha LJ56 & LS36, Furch Blue OM-MM, Cordoba C5, Yamaha RS502T, PRS Santana SE, Boss SY-1000 CG3 Tuning - YouTube - Bandcamp - Soundcloud - Gas Giants Podcast - Blog |
#17
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Hey, no expert here but have been doing home recording including a fair amount of acoustic guitar for "friends and family" for almost 20 years. I have a few thoughts of which one or more might help:
1) Mic Isolation: Although I've done some room treatment I still do most of my recording using a CAD Mic Shield (see pic), it isolates the mic and vocal/guitar source from some negative impact of room acoustics. 2) MICS: I've tried both LDC, SDC and two SDC. Despite trying really hard w SDC's I still usually end up using one LDC (see #3 below). In my hands anyway, I feel I do get more life/pleasant detail w/an LDC....I've moved to higher end mics now, but felt I got really good results using a Rode NT-2A and/or NT-1A 15+ years ago. 3) Mic Placement: I tried two SDC's as many prefer but wasn't happy. Given how important mic placement is with an acoustic, I probably haven't spent enough time with positioning two mics. Still one vs two means, one less mic that might be in the wrong place! and I'm just lazy. My starting point is usually with mic aimed towards where the neck meets the body, positioned ~14" away. Set the mic's angle such that you avoid getting much input from the sound hole, otherwise I usually get bass "woofiness". A tight polar pattern helps as well. 4) Preamp: This last one can be a game changer sometimes (in my little world) If you don't have a stand alone pre, they can make a world of difference vs a recorder's pre. As you describe your recordings lacking "life", a pre might really help. The first few years of my recording life I relied solely on the pre's on my BOSS BR1600 recorder. Eventually adding a stand alone (budget friendly)pre made a noticeable difference in overall sound quality. Pre's can give you a cleaner signal or pleasantly color it a bit, depending on the pre and how you use them. Anyway my two cents, okay maybe my nickels worth of thoughts. Good luck getting what you want to hear! PS: The AKG requires 48V phantom I recall reading somewhere that some battery run equipment w/48v spec actually provide less, especially as the battery runs down.... I've had problems -recently- with a 48v requiring mic not performing well when they're not getting the full 48.
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“The tapestry of life is more important than a single thread.” R. Daneel Olivaw in I. Asimov's Robots and Empire. Last edited by gmel555; 10-29-2022 at 11:23 PM. |
#18
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I'm curious...when you tried an interface where/how in your process did you use it?
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“The tapestry of life is more important than a single thread.” R. Daneel Olivaw in I. Asimov's Robots and Empire. |
#19
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Using one mike only?
First recording different sound from R and L channels but I suppost that could be from after recording tweaking. Not bad sound with the volume turned up a bit. Second recording R and L channels identical (mono). Recording sounds stuffy. Record further from guitar and don't point mike(s) directly at guitar's soundhole. Two mikes suggested and mike placement very important. Room acoustic treatment important and though I have gotten a few good sounding recordings in an untreated room usually they are not. Avoid close to mike isolation devices for recording guitar IMO. etc.
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Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#20
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Recording
All you have posted creative input
But I’ve used all types of gear From beyerdynamic mc930. To apollo twin duo To tube mics rode Apogee duet Clarett 4 pre M audio 192/12 Tried different settings and rooms The sound sample playback doesn’t change Lifeless , boring and shrilling sound Yes record at 44.1 |
#21
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Quote:
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Music: Spotify, Bandcamp Videos: You Tube Channel Books: Hymns for Fingerstyle Guitar (std tuning), Christmas Carols for Fingerstyle Guitar (std tuning), A DADGAD Christmas, Alternate Tunings book Online Course: Alternate Tunings for Fingerstyle Guitar Last edited by Doug Young; 11-13-2022 at 05:41 PM. |
#22
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Your poll doesn't account for a common setup: an SDC & an LDC together.
I like and SDC on the neck/body joint and a tube LDC at the body. I typically use a KM84 or KM184 for the SDC and a C12 or U47 for the tube LDC. Listening to your recordings I would say that your room isn't ideal for what you're trying to do. I would get a few ATS Acoustics Stackers to create a temporary booth to help you get a more focused sound with less of the room nasties. Check the out here: https://www.atsacoustics.com/studio-stacker.html The other thing I will mention is that I don't feel like the mic position is as good as it could be. Getting rid of the room reflections will likely help you narrow down better placement. I would get the mics setup, and then put on some good headphones. Place each mic separately while listening in the headphones until you find that spot that sounds best. Once both mics are placed, check for issues by flipping the polarity on one of the mics. If things become bigger, more solid sounding when you invert polarity on one mic you definitely have a phase problem. Re-adjust the mics & test again. If everything sounds thinner, when you flip polarity on one mic you are good to go. That's what you would expect by flipping polarity.
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-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |
#23
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#24
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Thanks! I’m assuming that your band might go the Emmylou route — that song is one that works any number of ways. Chuck Berry was brilliant.
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#25
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Phase issues with 1 mic
How would I have phase issues with 1 sdc mic?
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#26
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Can you post your results?
Long time studio owner/engineer/producer. I dont do it anymore but I can help if you give me what you currently have and what you want it to sound like in a post. Also, what gear? |
#27
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Place that sounds best in headphones
I feel like recording good guitar is a mirage
I’ve used bunch of headphones DT770 , m50hx |
#28
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I’ve seen many YouTubers record in their room
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They sounded day and night from what I recorded Phase issues maybe an issue Room treatment doubtful Different mics definitely not issue Mic preamp ughh don’t get me started on that Art gold mp dual channel tube preamp Result crap sound |
#29
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DupleMeter was giving you tips on what to look for when using 2 mics. With 1 mic, there will not be phase issues. But note that most instrumental fingerstlye recordings are stereo - 2 (or more) mics.
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Music: Spotify, Bandcamp Videos: You Tube Channel Books: Hymns for Fingerstyle Guitar (std tuning), Christmas Carols for Fingerstyle Guitar (std tuning), A DADGAD Christmas, Alternate Tunings book Online Course: Alternate Tunings for Fingerstyle Guitar |
#30
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Choice of mics? Barely important, preamps? Even less important. Mics and preamps matter if what you have is so bad that you have noise or poor frequency response. But these days, for what you're doing, even a $100 mic and a $200 preamp will not be your limiting factor (tho personally, I'd skip the Art stuff). You should know this, because you've had good, professional-quality gear, and it didn't help. That's because those things were not the problem. I've sent you recordings made with very cheap gear, that I think you acknowledged sounded good to you. It's not the gear. There are lots of of people here on AGF that make good sounding recordings. It can be done, you just have to learn how - and it's not that hard, nor is it much of a secret. I've sent you videos where I show you every single thing I do, from where the mics are placed to what I do with the tracks afterward. If you do those exact things, and don't sound at least passable, then it's likely the problem is room acoustics. There's also an aspect of "hearing your own voice" on a recording. Sometimes we just don't sound like we imagine we sound, even just with guitar, so hearing a playback is disturbing - we don't sound like we imagine we do, sitting behind the guitar. That's a whole different discussion.
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Music: Spotify, Bandcamp Videos: You Tube Channel Books: Hymns for Fingerstyle Guitar (std tuning), Christmas Carols for Fingerstyle Guitar (std tuning), A DADGAD Christmas, Alternate Tunings book Online Course: Alternate Tunings for Fingerstyle Guitar |
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