#31
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Interesting thread...
I was bitten by the guitar bug at age 14. Fast forward thirty years, and I've been bitten by the microphone bug. I'm fascinated with these little contraptions, and like guitars, they all have their own unique sound. I think that it's possible to get a professional result with inexpensive mics, and it is certainly possible to get amateur results from a high end mic. The sound of the room and the position of the mic(s) is far more important than which mic you choose. The weakest link in most home recording setups (including my own) is the room acoustics. The obvious choice for recording acoustic guitar in an imperfect acoustical environment would be a directional (cardioid) mic, but an inherent trait of these mics is proximity effect - an exaggerated low end boominess which increases the closer the mic is to the source. Many mics have a low cut switch that will help reduce the boom, and some have a built in high pass filter to reduce proximity effect. Omnidirectional mics, however, are not prone to the proximity effect issue, so you can get away with placing them closer to the guitar. But in either case, the goal is to get a nice balanced recording of the guitar without too much of the room sound coming through. So, the struggle of the acoustic guitarist who records himself in his living room or bedroom, is finding the right combination of mics and mic positioning that will give a good representation of the sound of the guitar, without sounding too boomy, and without allowing too much of the room sound in. Of course this is a compromise because of the imperfect room acoustics. When you do finally have access to a great sounding recording space, the skies will open up and the clouds will part. You can increase the miking distance, and it sounds even better, because you will now have the room working with you, rather than against you.
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https://www.reverbnation.com/bootheelers Last edited by Hot Vibrato; 02-03-2017 at 07:58 AM. |
#32
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A wise man who operated an analog (a what???) recording studio back in the day made this prophetic assertion. "A recording studio is just like a guitar collection. We're all just one piece of gear away from the perfect sound."
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#33
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I was just telling a friend of mine... I'm one plug-in away from having all the plug-ins I need. I just don't know which plug-in so I have to keep trying them.
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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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And you still seem to confuse that when someone suggests that" in general you get what you pay for " that they are saying the gear alone will make your recoding better, that is of course only in your imagination. No one has said or inferred that gear alone will make your mixes better, period. So your anecdotal experience with thinking that, because someone on GearSlutz told you to by a John Hardy and you still had bad mixes, is fine for your learning curve. But inferring that experience has any relationship to what people might be suggesting , is not only false but frankly a bit insulting . As is your constant demand for proof to justify the notion that in a general sense "you get what you pay for" and better gear might have some value. No one here has suggested bad room, poor recording techniques, or inexperience can be overcome by more expensive gear. In fact almost universally the opposite happens, where it is suggested that looking to the room and technique should come first. No one here has suggested you cannot get good recordings with gear that is very modestly priced. No one here has suggested " a good performance, a decent sounding space, a flattering mic position. And once these things were taken care of and the gear didn't add hum or hiss or crackles, didn't wipe out the bass or make the highs shriek, the tracks sounded pretty darned good.",,,,, is not basically accurate Perhaps the fact that you "try to be the anti-Gearslutz." is arguably the problem and not the solution you have convinced yourself it is . You often seem to bring this anti-Gearslutz crusade into discussions about the possible value of higher priced gear. As well intentioned as that might be. It is somewhat predicated on the notion that folks here need to be saved from suffering the same disappointment you went through when you mistook the notion that higher price gear could make up for poor technique and lack of experience or poor room acoustics . As if others will either suffer the same disappointment or delude themselves into believing there is an improvement. "And today I have plenty of fairly high end equipment and do most of my recording on a Zoom H6 XY". Is fine for your personal situation, but is a bit arrogant ( smacks of "If it's good enough for me" and "If I can't hear it it isn't there" or have real value) to assume that is corollary of the rest of our situations. And lastly to answer: The concept that the more noise or hyped anomaly that is the signal chain, becomes increasingly more noticeable when multiplied over increasing numbers of tracks is absolutely common knowledge. Because it is in fact physics not a "phenomenon" as you condescendingly labeled it . In digital recording there is absolute limit to the dynamic ceiling of signal , and while the increases in track numbers increases the noise and distortion, and raises the noise floor , there no corresponding increase in the absolute ceiling ( 0 db ) so what happens is the noise increases in relation to the absolute signal limit. And that increase in noise does start to increase the loss of sense of space (3D) distinction, and detail, and the mixes become more dull (less detailed) and flatter (more 2D) . And yes I have also experienced it on sessions of multiple tracks.
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Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Sonoma 14.4 Last edited by KevWind; 02-03-2017 at 11:12 AM. |
#35
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Move the decimal point one place to the right.
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#36
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Kev, I seem to have offended you. I'm sorry. Please accept my apology.
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As far as the insulting nature of my suggestion that a demo is better than a statement of opinion, I find this surprising. I would think that providing samples as I do makes it possible for others to make their own judgments. All the best, Fran
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E ho`okani pila kakou ma Kaleponi Slack Key in California - www.kaleponi.com My YouTube clips The Homebrewed Music Blog |
#37
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I have to say the GS community has steered me right a lot more often than they've steered me wrong. Sure you have to weed through some people with agendas at times, but there's a wealth of information there and some folks are incredibly generous with their knowledge.
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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 Last edited by jim1960; 02-03-2017 at 09:51 PM. |
#38
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Quote:
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Larrivee D03R '61 Gibson J45 Pono L-20 Pono C-OM-30 Blueridge Br-163 '73 Guild D-25 Recording King Dirty Thirties Parlor Facebook: Koanical Inhale Project http://www.youtube.com/user/zencabbage/videos |
#39
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Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Sonoma 14.4 Last edited by KevWind; 02-04-2017 at 08:25 AM. |
#40
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There's so many examples of recordings with fidelity that is not even close to what many people would consider good (Pablo Casals' Cello Suites from 39', Glenn Gould's Goldbergs from 55', Robert Johnson, early Andrés Segovia..) that give millions of people goosebumps with every listen -it never works the other way around. So getting your music truly together, and getting and keeping yourself in a relaxed, creative, and inspired state is whole other topic. Personally I like geeking out about microphones, but personally find the differences sonically to often be absolutely hair splitting. I do think different mics behave differently, in terms of how close or far you can get from the source, phase issues, etc. But when you normalize everything, it's pretty tiny, in my experience. To me it's really about the room, and of course every step after the capture. A great mic is not going to make a bad room better - in fact it'll probably just amplify what makes it a bad room. |
#41
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So if I move the decimal point two places to the right, Bingo, a 100% improvement in my sound. This little piece of information could save me thousands of dollars!!!
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#42
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Thanks you
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#43
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One of favorite guitars is my '64 J45, it just spews classic rock tones, here's the last recording I did with mine.... |
#44
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Although I bag on the lemmings, the people the just continue to blindly rehash BAD or overly biased information they've read by some other poster they admire, and the people with an agenda on gearslutz, I have also got some great information from GS, especially about people that are in the know when I need repairs on some of my gear. Just recently I found a guy through GS that is an absolute expert on one of my favorite old Shure Ribbon mics that I needed some work done on, a model 300. And one of my favorite preamps that I use all the time, a Sebatron 4000VMP, is something I learned about through Gearslutz! So I keep my subscription, and try to weed through the chuff.
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Tags |
guitar, mic, mixing, production, recording |
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