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#31
01-31-2022, 08:54 PM
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Knives,
Gee, thanks a lot. The partial capo has been a real game changer for me. The possibilities it has opened up...... just wow. Sort of like playing with an open tuning. Semi-open anyway. I had to modify one of their Dropped D capos because the neck of the D28 S is too wide to allow the Short-Cut to cover the strings properly. I got the Dropped D, measured twice and cut off the end so the capo is only affecting three strings, A, D and G. This was one of my very first videos. I shot it on a Canon XL2. I had a Countryman E6 on my ear for the spoken parts. Your memory is quite good (better than mine), but only the one Schoeps CMC641 on the sofa arm. I had each mic feeding a separate channel of the XL2. The room itself is acoustically damped, but not dead. I recorded into my Apple lap top using Quicktime. Then I think I brought the video file into Pro Tools on a mac tower, separated the tracks, dropping the talk track after I began playing, then bringing it back in at the end. Yes, a lot of reverb, even I've said maybe too much maybe, but other times I really like it. Yes I also used a phaser plug in at one point about 3/4 the way through. I felt the texture was getting boring and needed a change. I still have the original .mov with no effects. I'm not sure if I had committed to using two reverbs back then, but I do that all the time now. One reverb is short, almost a delay. The other is long with a 2.5 second ring. I have two mono sends for the one guitar track, one to each stereo reverb plug in. Each has its own stereo return fader. I think I used delay on both reverbs set to about 18 mSec to get the Haas Effect working for me. I added the reverbs in stereo with the two Aux returns to get the reverb field that my ears said was OK. How much is usually based on the tempo of a piece for me. Too much and the sound gets sloppy. Just right and there's just this big balloon floating around. The droning, I guess, is a combination of -- as you say -- the open tuning cause by the capo. That Martin has a marvelous ring when the greenness of new strings wears off a bit. How's that? Thanks again for the nice words. They mean a lot. 
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#32
02-01-2022, 01:14 AM
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Quote:
Reverb, and how much, is Style appropriate. I have talked about this before....Reverb can become part of the instrument. In this case, for this song, it is not just a topping. The Reverb becomes one with the thesis you are presenting. Dependent on the material, the tune would not be what it is without the reverb. Not a cover up, not an enhancement...but part of what makes the song what it is. Another example of this would be the electric guitar in "White Rabbit" of Jefferson Airplane's hit. The reverb becomes part of the instrument. Was it too much? If it had been mixed in with other instruments, voice and drums...Yeah, then it would have been most likely to much. There was some frequency confusion. But on its own...the frequency confusion-became a transportation mode for the droning effect. If you had that much reverb on every song? yeah too much. But for one melodic Rhythmic acoustic guitar tune....it became enchanting. On more than one song? Most likely everything would start to sound the same and you would loose distinction between one song and the next. The only real problem with Reverb...is how addicting it is. At least it is for myself. Easy to get lost in the too much reverb mode. Who didn't like playing in a stairway, concrete underground parking lot, a big cave, or long hallway?
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#33
02-01-2022, 10:04 AM
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Knives,
I agree. Some years ago I was recording a five-person madrigal group in a large church with one pair of the Schoeps in XY, with aligned capsules. The natural reverb from the church was good but I had to be aware of the tempo as I was listening in headphones as we recorded. With faster tunes, I pushed the mic towards the singers to get less reverb. On the slower tunes, I'd pull the mics away. I think the total distance difference was about 18 inches. I did this conservatively, thinking I might also add reverb if needed in post and that it's a lot more difficult, if not impossible to take reverb away. I did add a little in post, but let the charm of the hall do most of the heavy lifting. I think a lot of people add too much reverb to vocals because they don't like the vocals and think pushing it back with reverb will be a good thing. I think a good measure of this is them being too self-conscious. Then there are groups like The Church. "Under The Milky Way" pushes my limit for reverb a bit. OK, it sort of adds a "thought bubble" to the lyrics, but I keep wanting to pull the reverb return down a bit.
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