#16
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'47 000-18 '49 00-17 '91ish Deering Tele prototype '02 Goodall GC '20 Gibson Southern Jumbo Deering Maple Blossom '62 Danectro Longhorn Bass UAD Apollo x8p, Apollo Twin Genelec 8351B's Studio Monitors Genelec 7370A Sub Lauten Audio LT-386 |
#17
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I put a low cut filter on most tracks to eliminate what doesn't need to be heard. I solo the track with the filter engaged, raise the cut off to the point I can hear it and then back it off some.
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#18
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Where are you placing your mics? XY can be tricky, since the usual recommended spot typically ends up with a mic aimed into the soundhole, and "boom"... You may be able to reduce boominess with a Dynamic EQ, which can be set to cut a specific note only when the boom occurs, so you you reduce the problem without cutting the overall bass of the track.
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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 |
#19
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Yes, I’m looking forward to getting into the EQ next. Thanks!
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1952 Martin 0-18 1977 Gurian S3R3H with Nashville strings 2018 Martin HD-28E, Fishman Aura VT Enhance 2019 Martin D-18, LR Baggs Element VTC 2021 Gibson 50s J-45 Original, LR Baggs Element VTC ___________ 1981 Ovation Magnum III bass 2012 Höfner Ignition violin ("Beatle") bass |
#20
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This conversation keeps getting more interesting. I did a quick lookup for mode calculators. It seems a bit over my head at the moment. I’ve stopped using my 12 x 13 spare bedroom for recording (poor results) and moved to our kitchen/DR/LR for tracking. The room’s dimensions are complex. If there were nothing in it, it would be about 20 x 35 feet, but there are partial walls and other baffle-like structures. There’s soft furniture and stone countertops. It’s not clear to me how I would use an app to calculate modes or harmonics or whatever matters. I situate myself about 8 feet from two walls, in one far corner of the space, aiming diagonally into the long end of room. First reflections are projected out in front of me several feet beyond the mics. My XY setup places the fronts of the mics, of course, at 90° to each other, and 9 or 10 inches in front of the soundhole. They point to the 12th fret and the bridge, but I know they’re not pinpoint directional mics, they’re cardioid. They only drop a couple of dB at 45°, so I can see how I could get a proximity effect. Entirely possible. Makes you wonder how engineers deal with proximity effect with XY, and makes me think about trying a spaced pair to get away from the soundhole. I’ll see by how much I can tame the low boom. I’m encouraged that there is no clipping. You’ve given me one more skill set to investigate in dynamic EQ. I have not seen this. But as you describe it, it might not be for these tracks. The part is a rolling repetition, almost a steady drone, so where there’s sound, there’s boom. No, for now I’m going to see what can be done with old-fashioned subtractive EQ. In the future, with different songs and different playing dynamics, I’ll have different lessons to learn. I’m glad I have a simple arrangement to work with right now. I am greatly enjoying the informed comments and recommendations here. Thank you all. I hope to post a SoundCloud clip of the song here once it’s all done with the vocals.
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1952 Martin 0-18 1977 Gurian S3R3H with Nashville strings 2018 Martin HD-28E, Fishman Aura VT Enhance 2019 Martin D-18, LR Baggs Element VTC 2021 Gibson 50s J-45 Original, LR Baggs Element VTC ___________ 1981 Ovation Magnum III bass 2012 Höfner Ignition violin ("Beatle") bass Last edited by b1j; 06-23-2022 at 12:06 AM. |
#21
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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 |
#22
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Thanks for that. Lots to learn.
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1952 Martin 0-18 1977 Gurian S3R3H with Nashville strings 2018 Martin HD-28E, Fishman Aura VT Enhance 2019 Martin D-18, LR Baggs Element VTC 2021 Gibson 50s J-45 Original, LR Baggs Element VTC ___________ 1981 Ovation Magnum III bass 2012 Höfner Ignition violin ("Beatle") bass |
#23
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Even just opening out the XY from 90 deg slightly could help avoid the soundhole. |
#24
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Right. Lots to explore.
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1952 Martin 0-18 1977 Gurian S3R3H with Nashville strings 2018 Martin HD-28E, Fishman Aura VT Enhance 2019 Martin D-18, LR Baggs Element VTC 2021 Gibson 50s J-45 Original, LR Baggs Element VTC ___________ 1981 Ovation Magnum III bass 2012 Höfner Ignition violin ("Beatle") bass |
#25
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I’ve been tending to high pass around 50hz to target unwanted stomach rumbles, foot stomps, etc. And then as far as lowering the boom I like to use Fabfilter's dynamic eq (essentially a multi-band compressor) feature, usually in the 150-200hz neighborhood with the q at something like 3.5, and do a cut that only kicks in at certain threshold. I’ve actually started to turn off ProQ3's spectrum analyzer and/or close my eyes completely for the final tweaks -as I’m starting to think mixing with my eyes is like painting with my ears
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#26
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As a general rule, apply a HPF only when necessary. All filters introduce ringing & distortion to some extent. They also introduce a certain amount of phase shift, unless you use one of the phase coherent models, but the trade off is more ringing in the circuit/algorithm. And, while phase shift tends to be a buzz word & assumed bad, there are times when phase shift is acceptable if not desirable (think Pultec & the low end trick).
It’s probably better to address the issue by zoning in on the problem frequency & use a parametric EQ to tame it. Then just adjust the Q. Or use a proportional Q EQ (like an API style). A simple approach might also be a multiband compressor. Set the lowest crossover somewhere around 150Hz use that to tame the low end. Just disable the rest of the bands.
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-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |
#27
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I have been using a multi-band compressor in this way recently, with the low crossover point at 125 Hz. This approach has been helpful, though I had thought I had come up with this idea on my own. I should have known it was out there floating around on the ether somewhere. - Glenn
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#28
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Yikes. That setup is bound to result in lower frequency boom if not thunder.
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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 |
#29
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It's a trick I learned from some very well respected engineers (sitting with them in the studio NOT just on YouTube). I first ran into it doing a session at Avatar/Power Station. Held on to it. I also learned from a bunch of dialogue editors that do blockbuster movies about using a multiband on vocals with the crossovers set at 300Hz & 4kHz. So much of the voice's energy is in that middle band...it allows for smoother/less obvious compression. While meant for dialogue, I started using it for vocals.
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-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |
#30
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How would you do 90° XY if you want one mic pointed just behind the bridge and the other at the 12th fret?
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1952 Martin 0-18 1977 Gurian S3R3H with Nashville strings 2018 Martin HD-28E, Fishman Aura VT Enhance 2019 Martin D-18, LR Baggs Element VTC 2021 Gibson 50s J-45 Original, LR Baggs Element VTC ___________ 1981 Ovation Magnum III bass 2012 Höfner Ignition violin ("Beatle") bass |