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#2
02-17-2020, 10:58 AM
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----------------------------------- Creator of The Parlando Project Guitars: 20th Century Seagull S6-12, S6 Folk, Seagull M6; '00 Guild JF30-12, '01 Martin 00-15, '16 Martin 000-17, '07 Parkwood PW510, Epiphone Biscuit resonator, Merlin Dulcimer, and various electric guitars, basses.... 
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#3
02-17-2020, 10:51 PM
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I tried it when I first got my Tonedexter and the results were - meh.
I was surprised since it is a Michael Joly-modified microphone and I've gotten good results using it in the past. I've gotten very good results using a Line Audio CM3, a iSK Pearl, and the good old SM81.
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-Gordon 1978 Larrivee L-26 cutaway 1988 Larrivee L-28 cutaway 2006 Larrivee L03-R 2009 Larrivee LV03-R 2016 Irvin SJ cutaway 2020 Irvin SJ cutaway (build thread) K+K, Dazzo, Schatten/ToneDexter Notable Journey website Facebook page Where the spirit does not work with the hand, there is no art. - Leonardo Da Vinci
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#5
02-18-2020, 11:57 AM
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I'm finding with my ToneDexter that my favorite mics are not the same as my favorites for real-world recording situations. I prefer the results I'm getting with my Shure KSM-44 and/or AGK 414-TL II (1"-large diaphragm mics) over my Peluso CEMC6 or my Rode NT3 (20mm medium diaphragm mics) - the reverse of my pecking order for doing normal sound recording. I'm thinking it's at least partly because we are blending mic and pickup over just using pure recordings. At this point, I'm open to trying about any mic to pull a sample and listen back through a good set of head-phones or through my stage acoustic amplifiers. And I'm getting some real-world chances to hear my ToneDexter in different combinations of instruments and house systems to quickly decide which waveforms are useful, and which to toss out and re-record. Some conjecture as to my successful voices and those that don't make the cut… Stage work is so much less predictable than recording in controlled environments, and the sound of guitars in auditoriums is often inferior to what we hear inside a recording environment through high end monitors. And sometimes I think I'm going for what I THINK my guitar sounds like, not what it's actually sounding like. The waveforms vary quite a bit on some instruments when I move from positioning a mic 14" out from the neck/body joint or when I'm aiming mid-bridge from 45° off-axis of the instrument at 14" from the bridge. What sounds great on a recording when playing solo guitar is not the sound I'm going for on stage in an ensemble or band (or at least it should not be). When I have to shape my guitar's sound so it doesn't conflict with other instruments, it's not going to be the same as when I'm playing solo acoustic in the imaginary auditorium in my head. Some of that shaping is done with playing technique, and some with EQ. Hope this adds to the discussion…
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Baby #1.1 Baby #1.2 Baby #02 Baby #03 Baby #04 Baby #05 Larry's songs... …Just because you've argued someone into silence doesn't mean you have convinced them…
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