#16
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Played a bit with "Night Fishing - Final Test - NO EQ - Reduced Reverb". Very good recording but a bit congested in bass and needed IMO a bit more air.
Of course this is working with the SoundCloud resolution, not the original wav file. http://dcoombsguitar.com/Misc/AGFNight.wav
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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 |
#17
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Thanks - I just had a go at that, very interesting.. Here’s a screen shot and also the sound file - better? Screenshot 2020-08-08 at 15.40.11.jpg
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Burguet AC-007 (2003 - Cedar/Rosewood) Webber OM (2009 - Sitka/Sapele) https://www.youtube.com/channel/UC8A...2TVEhWes2Djrig |
#18
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Burguet AC-007 (2003 - Cedar/Rosewood) Webber OM (2009 - Sitka/Sapele) https://www.youtube.com/channel/UC8A...2TVEhWes2Djrig |
#19
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Bit of R/L volume balance Looked at frequency spectrum in FabFilter Pro-Q3 and narrow Q sweeped looking for droning frequency bands that over resonated and cut a few decibels there. Picked a reverb with a lean toward brightening and clarifying overall.
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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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Thanks. Funnily enough I felt the track was leaning towards being a bit right heavy and so reduced the right channel about 2db.. What type of reverb adds clarity?
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Burguet AC-007 (2003 - Cedar/Rosewood) Webber OM (2009 - Sitka/Sapele) https://www.youtube.com/channel/UC8A...2TVEhWes2Djrig |
#21
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The subtractive eq sounds a bit tighter, a more rounded tone with less "air" under it as compared to the "Final test."
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Barry My SoundCloud page Avalon L-320C, Guild D-120, Martin D-16GT, McIlroy A20, Pellerin SJ CW Cordobas - C5, Fusion 12 Orchestra, C12, Stage Traditional Alvarez AP66SB, Seagull Folk Aria {Johann Logy}: |
#22
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Thanks Barry - I agree. I have learnt a lot in this thread!
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Burguet AC-007 (2003 - Cedar/Rosewood) Webber OM (2009 - Sitka/Sapele) https://www.youtube.com/channel/UC8A...2TVEhWes2Djrig |
#23
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Kev Can I ask you a question regarding treatment placement please. I currently play facing in to a three sided square - so treatment in front of me and to both sides but nothing behind me. I did this to calm any reflections coming straight from the guitar. I have read somewhere that I should reverse this and play with the treatment behind me, as this is the live side of the mics - and dispense with the treatment in front of me as this is the dead side of the mics. Would you agree? Essentially I have three large panels (1.4m x 1.4m) and then multiple smaller 0.6x0.6 that can be placed anywhere. Thanks Peter.
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Burguet AC-007 (2003 - Cedar/Rosewood) Webber OM (2009 - Sitka/Sapele) https://www.youtube.com/channel/UC8A...2TVEhWes2Djrig |
#24
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Because as far as reflections and possible problems, so much depends on the actual exact room dimensions. Its been a long while since I was researching it but, if I remember correctly evenly divided dimensions tend to be the most problematic for creating issues . Like 12 ft by 24 ft. etc. (not sure how this relates to metric)
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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 |
#25
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Ratio of the (distance of the direct signal to mic) to the (distance of the reflected signal to mic) is another factor to consider in placement of your panels. For example, if the wall behind you is 10 feet away, and the mic is 1 foot from the guitar, the reflected signal off the back wall is about 26dB lower at the mic than the direct signal coming from the guitar (this is most applicable to low frequencies that transmit in every direction from the guitar).
Considering the direct:indirect signal distance can help quite a bit, as the power of the signal drops relative to the distance squared (i.e. if the distance is doubled the signal strength power is reduced by 4). Use distance, mic directionality, and your panels in combination to get the best effect.
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Chuck 2012 Carruth 12-fret 000 in Pernambuco and Adi 2010 Poling Sierra in Cuban Mahogany and Lutz 2015 Posch 13-fret 00 in Indian Rosewood and Adi Last edited by ChuckS; 08-09-2020 at 07:45 AM. |
#26
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The short answer is keep experimenting.
And, you didn't ask me, but if you want to optimize [good] signal to [bad] environmental noise ratio, the noises that will intrude most will be arriving at the mic where it is most sensitive, based on its polar pattern. So, for a cardioid mic, most of those noises will be arriving from the area in front of the mic, which, yes, includes the area behind you. So, treatment behind you will block some noises also coming from behind you, but it depends a lot on your room and what is in front of you whether it's going to help more. If you've got a nice bookcase behind you, and a wall size mirror or window in front of you, it might be more effective to block sounds from first getting to that reflection point, because once they get there, they'll bounce all over the room. Put another way, you might want to look at the most reflective surfaces, and consider how to minimize sound getting to them and then the reflections getting to the mic, by treatment, distances, mic angle, etc. And don't forget that the polar pattern is not 2 dimensional, but includes the floor and ceiling.
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"I know in the morning that it's gonna be good, when I stick out my elbows and they don't bump wood." - Bill Kirchen |
#27
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Thanks Kev - I understand there is not often a simple answer when learning recording but as you say it’s easy to experiment - my challenge is in analysing the recording post experiment as I find it very hard to differentiate which is actually “better” Appreciate the help here - I am learning all the time.
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Burguet AC-007 (2003 - Cedar/Rosewood) Webber OM (2009 - Sitka/Sapele) https://www.youtube.com/channel/UC8A...2TVEhWes2Djrig |
#28
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Nonetheless I do appreciate your answer so thanks for chiming in. Behind me is actually a series of built in wooden shelves in cube form, on which I have lost of bits and bobs. In front is my large acoustic panel. I can easily enough put some panels or similar behind me too. Room is 3.3m long and 2.2m wide so the distance from my back to the rear shelves is around 2m I guess, which will see the reflections reduced by the time they get back to the mics. Thanks!
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Burguet AC-007 (2003 - Cedar/Rosewood) Webber OM (2009 - Sitka/Sapele) https://www.youtube.com/channel/UC8A...2TVEhWes2Djrig |
#29
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Thanks Chuck - that’s useful to know as it is relevant in my case. I guess my thinking was that most of the sound that might have hit the back wall and be reflected back to the mics was going to be soaked up by the large panel in front of me?(and to my sides)
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Burguet AC-007 (2003 - Cedar/Rosewood) Webber OM (2009 - Sitka/Sapele) https://www.youtube.com/channel/UC8A...2TVEhWes2Djrig |
#30
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Yes, but the reflections off the wall behind you will be picked up by the mic before they are absorbed. If you have another large panel I’d add it behind you.
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Chuck 2012 Carruth 12-fret 000 in Pernambuco and Adi 2010 Poling Sierra in Cuban Mahogany and Lutz 2015 Posch 13-fret 00 in Indian Rosewood and Adi |