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Hi! I'm a recording engineer by trade. I've got a great action snapshot of me in the middle of one of those sessions where a client demanded that we go straight through in one take. It is right HERE.
Bob
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"It is said, 'Go not to the elves for counsel for they will say both no and yes.' " Frodo Baggins to Gildor Inglorion, The Fellowship of the Ring THE MUSICIAN'S ROOM (my website) |
#17
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It takes some trial and error to know where the break-even point is, but I usually want to get a recording to where I'd be OK releasing it as-is, then use the editing process to just take to the last degree of polish. But having a "perfect" first half on one take, and a perfect last half on another makes for a pretty much no-brainer, just glue them together. Of course you have to be careful. Is your tempo identical? Are you playing with the same dynamics? Did the guitar drift in pitch? Did you move, even slightly, causing an image shift in the recording?. If the two good takes are too far apart, you might even hear differences in string age. And if you're recording in a commercial studio and the clock's ticking, that adds a whole other wrinkle.
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#18
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Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Sonoma 14.4 |
#19
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#20
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I am recording a new song and did 8 or so acoustic guitar takes all the way through didn't stop to listen, just did one after another....
I felt I had a perfect take but wasn't sure which # it was.....I went back and played em all and sure enough I had caught lightening in a bottle..... This starts out acoustic, then I bring in drums, keys, bass, strings etc.(BTW, I edit the daylights out of these in Sequencer mode on my Triton Extreme) I had one problem........at the end of the tune I break back down to acoustic and on the last ringing note, and guess what .......................You hear the darn click track As one person said on Acoustic there is nowhere to hide, and to seamlessly piece something together is kinda daunting unless your guitar is ringing out overtones exactly the same way......... After a few failed attempts to redo the outro I was concerned, you could audibly hear a punch.....But ahhhhh, I set auto punch for the last note only......I played along with the track and got the same overtones and man I got my perfect take....... In reality multitrack recording is a composite Best Of The beauty of it is, it is you playing the very best you can......Your overall recording should be The Take Of A Lifetime
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#21
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but all those other factors you mention come into play. and really i am not in a rush, other than there are lots of tunes i'd like to work on. i'm sure you remember tongue and groove, and i played that an awful lot of times (every day for months) before i could play it through without any major problems. but by the end, i could get a reasonable take most days. but the really engrained muscle memory was a neat thing, and i'd have times where mentally i would blank out and just sort of watch my fingers play. typically i'm thinking about the notes and fingerings as a piece rolls by. |
#22
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i do use the idea of getting a good take as motivation to really work through the tough sections, as well as gaining some sort of quality/focus/concentration endurance, which seems to be a skill in itself. |
#23
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Here's a video my little brother shot of Jerry Jeff Walker in the studio down in Austin, TX. The whole band being recorded at once. I'm sure they did some "fixes" and overdubes (i.e. you can see one guy on different instruments), but tunes like this seem to have so much more life on them than the iPhone-perfect-glossy stuff that tends to come out of Nashville (where I live).
Jerry Jeff Walker - Down In Belize Cool tune... Last edited by 815C; 03-28-2012 at 07:18 PM. |
#24
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Taylor 712 Aria A551b Cordoba C10 Cr/Ir Seagull Entourage Rustic (I won it!) PRS CE22 American Standard Stratocaster Silverface 1978 Fender Champ Fender Deluxe Reverb Winner of the Virginia Guitar Festival Feel free to call me Zach |
#26
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#27
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I'm a relative novice at all of this, but...
My biggest challenges in editing my recordings (aside from the fact that I don't know the software well enough) have been that the bits I want to splice in to fix mistakes often differ slightly in tempo or volume from the places they are being spliced into, or they have a different tonal color. None of these things would be such problems of course if I simply played more consistently (and maybe if I recorded with a click, in the case of the tempo issues), of course. Given the above issues, the approach I often try to use is to repeat sections where I made mistakes right away (going back at least a measure or two so that the lead in to the repeated part will have the same tonal color as when that part is played normally). I just play the repeat immediately following the measure with the mistake (or at the end of the musical phrase) as though it was the next musical phrase in the piece. This helps me to have consistent tempo, volume, and tone, and it makes the editing simpler since I just have to cut out a portion rather than copying and pasting from elsewhere. I suspect editing mistakes would not be so painful if I got more adept with the software and/or if I used better software (I have been using Garage Band, but when I get a chance to learn how to use it I'll be switching to Logic Express, which I have installed on my computer but I have not learned yet). This sort of editing is really annoyingly fiddly work. Whenever possible I try to avoid having to do editing, but alas, I am not at the level with most of my pieces that I can manage to reliably play totally clean takes with all the nuances the way I want them. Last edited by wcap; 03-31-2012 at 10:59 PM. |
#28
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Oops.. my post got doubled somehow.
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#29
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consider it a second take but in the end the first one was the one to keep.
thanks for your reply. it certainly can be tedious, fiddly work. for myself, where i can get through this piece with only a couple of major mistakes, i was thinking of using 2 or 3 consecutive takes. this would help keep the volume and tone fairly consistent. i would also use a metronome for tempo. then i would piece together 2 or 3 sections, so the edited would be few and manageable. but i still like the goal of a single take as motivation to practice. |
#30
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All good points. For what it is worth, I became a technically better and more confident player after finally deciding that edits/overdubs were not allowed on my solo instrumentals. It also quickly made me a better live musician by emphasizing the importance of getting in the zone and really getting in touch with the piece of music. Sure, I've had full recording takes that then get screwed up on the very last note, but that is part of the natural process of recording. I just smile and start up again...not like I'm wasting any tape and my home studio time is free! When I was goofing around with edits, the whole song became secondary to the "parts" of the song that were played well. I ended up not really liking the process.
The great uke player Jake Shimabukuro put out an album several years back where he played every song start to finish with no studio gimmickry. It is great to hear his technique....warts and all. In the end, figure out what is best for you and don't let it become a moral decision because both approaches are fine.
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