#16
|
|||
|
|||
Quote:
A totally different idea, but do you happen to suffer from tinnitus or hyperacousis? If you're of an age where these things start to manifest themselves don't overlook the possibility. Tinnitus is usually fairly apparent, but hyperacousis is the new kid on the block, with far fewer people aware of it. One of the manifestations can be a sensitivity to specific sounds, and the nature can vary widely. It's a possibility that you detect a very specific block of frequencies as being louder, or even edgy to the point of being annoying. The offending noise can range from someone in the next room doing dishes to more pointed material such as specific cymbals or even specific notes on a piano. In your case you may not even be aware of it until it comes back to your ear in a very specific direction and volume. Since you haven't got any suggestions that seem to fit I thought I'd mention it. I have both, so I'm totally familiar. |
#17
|
|||
|
|||
Quote:
I really do think that's just what that guitar sounds like. Sent from my iPhone using Tapatalk |
#18
|
|||
|
|||
Quote:
|
#19
|
|||
|
|||
All my guitars have that same sound when recorded.
|
#20
|
|||
|
|||
If that's the case, then it really seems like what you're hearing (and what I'm hearing) is the sound of an acoustic guitar being strummed. Like I said, I'm not hearing anything in the sound clip you provided.
As I also said upthread, I wonder if you have ever listened to someone play one of your guitars with your pick. Do you hear the sound then? We never really "hear" our guitars while we're playing them because our heads are on top of the body and not in front. I have a friend who buys custom Taylor lefty guitars, and he'll sometimes ask me to come over and play them for him for a little while just so we can hear what they sound like. I once recorded a bandmate—who has 30+ years of gigging experience but zero recording experience—playing his perfectly fine Taylor 3-series. He couldn't believe that it sounded like it did, and I just said "I don't think you've ever heard what you actually sound like when you play." |
#21
|
|||
|
|||
Quote:
Microphones don't "hear" sound like our ears do, so the notion of unaltered signal chain = more faithful reproduction of source is erroneous, if faithful reproduction is indeed what one is trying to achieve. My own personal ideal for a strummed rhythm guitar is a D-18 with subtractive EQ and moderate compression - the enhanced presence sounds good, and it makes an effective framework for the vocal and the other instrumentation. |
#22
|
|||
|
|||
Quote:
Regarding the rest, personally, if I had an intern in my place and wanted to teach them about placement, I would not let them touch the Schoeps or anything effortless like that, I'd make them use mics that are not as easy and really teach them about placement. That's just personal opinion though. I'm not discrediting your perspective. Anyhow, intentional or not, this comes across as a weeing contest and I get no joy in that sort of thing. I'm very comfortable with my gear, job, and experience and we'll leave it at that. I'm not even trying to tell you that you are wrong. I'm just sharing a more traditional perspective with the OP so this doesn't need to be competitive. For those who reading this who do not understand why I'm encouraging the OP to avoid EQ, it's because it causes distortion and changing something about the source (guitar, playing, mic, placement, room, etc) is almost always sonically preferable to using EQ. For instance, as you take away a metallic sound, you also kill pleasant harmonics that are important to certain notes. See if you can reduce that metallic sound while preserving the full spectrum of the instrument. That's all. I'm not saying it's a sin to use EQ. I use a lot of it and love my EQs. I even build EQs. I'm simply saying that it's a mistake to reach for it first, before trying better methods. Last edited by Bowie; 02-05-2017 at 08:32 PM. |
#23
|
|||
|
|||
I will experiment some more with mic placement to see what can be done to improve my recorded sound.
|
#24
|
|||
|
|||
Well, after some more critical listening I realize that the guitar does produce the sound I was hearing, not just in the recording. So, okay. I did some experimenting with different mic placements and got some really nice results. Yes, the metallic sound is still there, but it doesn't bother me as much any more. I guess I was being too critical about what I was hearing. I was also upset at the thought that it might be something in my recording signal chain contributing to it, but now I know that is not the case. For now, I can accept what I hear as just the way the guitars sound when strummed.
|
#25
|
|||
|
|||
Quote:
|
#26
|
|||
|
|||
Quote:
1. It is possible that it's just the sound of a strummed acoustic. 2. It is possible that it's just the sound of YOU strumming YOUR acoustic 3. It is possible that it's the room/mic/placement/etc. 4. It is possible that your guitar just doesn't record well (although the clip you provided doesn't seem to bear that out). Have you ever had someone come over and strum both your guitars and theirs? Might be useful to do a shootout to see what records well and what doesn't. |
#27
|
|||
|
|||
First thought. Strings. Do you run mediums or lights. Lighter strings tend to produce more noise/jangle where medium strings tend to produce more standard guitar sound.
Second... I know you have the stable of guitars you have and all.... Any chance you could do a test of the same recording with a *good* J-45? Maybe borrow one from a friend... One of the neat things about a really good J-45 is that they don't tend to make as much in the way of jangly overtones unless you play them softly. It's got to do with the way the bracing is designed. These tend to be popular with singer/songwriters because they just sound like "guitar".. Especially with medium strings... Think classic James Taylor.... I would expect your Taylor's to produce more jangly overtones, and especially the D-41.... Which I would guess would make a lot more chimey overtones. Thanks Last edited by Truckjohn; 02-06-2017 at 11:00 AM. |
#28
|
||||
|
||||
Speaking of which I assume the Millenia and Pultec are hardware units ? The Pultec is vintage or modern version?
__________________
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 Ventura 12.2.1 |
#29
|
|||
|
|||
Quote:
Again, I don't really hear anything all that bad in the recording. My notching on the EQ in that image was pretty mild. |
#30
|
|||
|
|||
Hardware. The Millennia is an NSEQ. The Pultec I currently own is an interesting one. I built it with a specific blend of vintage and modern parts, in a point-to-point layout, and original style faceplate. Last year, I did some side-by-side comparisons with a 1950s original and actually liked the low end response of my own build a little better (which came as a big surprise, but a happy one). But, the top has a lot of color and I want to tune it a bit to get it just a little more neutral if I'm going to sell them. So, I've got some alternate parts and I'm going to swap and compare in the coming weeks. I have a couple of clients inquiring about buying this so I might end up building a few.
|