#31
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Naw my offer to post a clip was only because my credibility was challenged. There'll be no stereo mic revelations here. There again I'm certainly not opposed to slapping a couple of mics up and recording a bit as it is (believe it or not) what I do for a living |
#32
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One of the problems inherent in recording a guitar is that it is a wide sound source and somewhat different frequency content comes from different areas of it. Thus at any given point a microphone might be placed wavefronts coming from different areas of the guitar are out of phase with each other. Single mike guitar recordings sound thin, not like the guitar live. That may sit just fine in a mix but it is not so great by itself. You need two mikes and the ears operating in their phase space interpolations to get a fuller sound. A smaller area sound source, say a voice or trumpet, sounds much more natural recorded with a single mike. So with a guitar you start right off with this mishmash of wavefronts. Ultimately one is hoping for a unified sound that sounds like it is one full bodied instrument rather than a blend of two or more instruments.
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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 Last edited by rick-slo; 02-03-2013 at 01:08 PM. |
#33
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I think I'd rather suggest that they should pay attention to phase rather than some rule. Its just my experience, but for me, recording solo acoustic guitar, the 3-1 rule simply plays no role - for me - in micing the guitar. There are a dozen other issues, and getting decent phase correlation is one, but but I haven't found the 3-1 rule to be something that is useful in this case. A demo of how it matters and how you'd place mics to both sound good and obey 3-1, especially in a home (so-so acoustics) environment, would be great.
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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 |
#34
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Thanks for this thread and perspective! Further to the point....what exactly am I listening for, or, not hearing ( single acoustic guitar recording) that tells me I have phase/mic issues? A thinner sound? Some kind of delay in what I'm hearing? Just a wave pattern which tells me there are issues which I need to correct? Doug's idea of a demo of this kind would be super!
Many thanks, Fred
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1993 Bourgeois JOM 1967 Martin D12-20 2007 Vines Artisan 2014 Doerr Legacy 2013 Bamburg FSC- 2002 Flammang 000 12 fret 2000 McCollum Grand Auditorium ______________________________ Soundcloud Spotify |
#35
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Well again (and I seem to be utterly inept at making my point here, which of course is a lifelong M.O. for me) I have not, have never and will never advocate one must follow the 3 to 1 rule and then "put up" with the short comings from there. Never. What I did advocate is as a beginner, and perhaps inferring the same learning process I went through, one should not either ignore the 3 to 1 principle. It is in fact a principle that is (for ANY engineer and for many applications, not just solo acoustic guitar) one that's of solid sonic merit. However, how I became the one who's the National mandatory 3 to 1 spokesperson I'll never know. That was never my intent and in re-reading my posts, in the off chance I took leave momentarily, there's really absolutely nothing there that would indicate as such. If there is and I've missed it, and for my own gratification please point it out Last edited by Joseph Hanna; 02-03-2013 at 03:23 PM. |
#36
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Generally I look for some body on each note played across the frequency range. I do not like to hear a sort of unmusical shimmer hang over the music. It can be hard to single it out because there are a number of other problems that can occur in a recording, such as background noise and proximity effects. Also the recording could be pretty accurate but the guitar poor sounding or the playing rough and uneven. And also most recordings you hear are not raw but have been tweaked with reverb, etc. and may end up sounding pretty good even if the raw recording does not.
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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 |
#37
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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 Last edited by rick-slo; 02-03-2013 at 03:35 PM. |
#38
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thanks Rick....helpful!
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1993 Bourgeois JOM 1967 Martin D12-20 2007 Vines Artisan 2014 Doerr Legacy 2013 Bamburg FSC- 2002 Flammang 000 12 fret 2000 McCollum Grand Auditorium ______________________________ Soundcloud Spotify |