#31
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I pan everything to one speaker and put the mic in front of it, maybe three feet away. I set the volume at a comfortable level for singing with. And -- this matters a lot -- I have a very dead surface behind me. Some mics pick up more bleed than others, but it's never unworkable. I think the bleed helps, actually. Makes it all a bit less sterile.
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#32
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Some perfect recordings were done live with no overdubs, but not many. When I play live, the mistakes are actually a part of people getting to see me place myself on the line so to speak, and see how well I do at moving them musically. Studio is another thing altogether and what matters most is that the listener gets to enjoy the final product regardless of how it was arrived at.
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Journey OF660, Adamas 1581, 1587, 1881, SMT - PRS Cu22, Ibanez JEM-FP, S540, RG550, Fender Stratocaster Heil PR-35 : Audio Technica AE-6100, ATM5R : Beyer TG-V90r : Sennheiser 441, 609, 845, 906 : ElectroVoice ND767 HK 608i Friedman WW Smallbox, Marshall 4212 |
#33
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#34
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FWIW, I've never had anyone notice it or point it out. And maybe since I used to mix records for a Caribbean producer who had birds nesting in his studio's rafters, I've developed a higher than usual tolerance for audio debris. |
#35
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Now that's just ambience.
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |