#16
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#17
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The "modern" concept of the single microphone for ensemble amplification is a throwback to the early days of public address amplification, and the look of the process is a whole lot more impressive than the result. Fun to watch, not so much to listen to. Modern recording is almost always done with single or stereo micing of each individual instrument and separate microphones for each vocal performance. The practical use of stereo mics on any individual instrument is quickly lost as the number of instruments increases. The fewer mics you use the more you limit your ability to edit or mix. The larger problem will be to isolate individual instruments and vocalists and minimize microphone bleed. THAT'S where the rubber truly hits the road. I've been posting the suggestion to listen to Doug Fearn's "My Take On Music Recording" podcasts for a while now, but there's a lot of great information on live recording of small format acoustic bands that's free for the listening. |
#18
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I'll check out that podcast. |
#19
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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 |
#20
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Ok so it seems clear you are talking about traditional Bluegrass only in so far as types of instruments and possibly the tunes etc. So to clarify a bit further it also sounds like you are talking about recording the band playing all at the same time , yes? If that is case (and assuming you will not be using ISO booths or panels and headphones for each performer ) Then strictly speaking you will not have "isolation of all sources " that is to say you will have some bleed But that is not as big an issue as some may think. You will have the most bleed between an individuals vocal and their instrument then you may have (depending on how sensitive the vocal mics are ) some bleed between the performers But I am guessing not enough to worry about in either case . So that said :: As Joseph mentioned in a band situation, I do not see any "advantage" in trying to stereo mic any instruments. In fact it will likely be less problematic to mix with single mics on the instruments Stereo mic'ing multiple instruments can easily become an indistinct mush of sound . Me I would single mic the instruments and try to place them Left to Right in the mix, the way the band lines up from the audience perspective .
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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 |
#21
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I only use matched pairs for recording in X-Y, ORTF and Blumlein mic placements. I prefer matched pairs for other configurations, although unmatched pairs (i.e., two different mics) can do some neat things because an acoustic guitar is not a single point source and it sounds rather different at different locations (e.g., the 12th fret vs. the lower bout vs. over the shoulder).
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#22
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I do only multitrack recording, max of two inputs at a time. I prefer using two mics for a guitar (or sometimes even a vocal) because I like the width it brings to the sound, as someone else here said, whether in headphones or through loudspeakers. It does complicate mixing, and in my case editing, because I do a lot of layers, punching in, and comping to get a track that flows (limited talent).
I’m moving from doing two mono tracks to one stereo track, but that carries its own burden: mic placement and preamp gain must record a balanced signal (in the same dB range) from both mics. With 2 monos, you’d have more control over volume balance. To the OP’s question, I would not play around with recording the same guitar performance with two mic models. Too many variables, just seems like a rabbit hole. I know I’ll get comparable and complementary L and R tracks with two of the same mic model. Matched pair? I don’t stress about it. My two LDCs are same model, different years. I used to use one or both of them for guitar, but now they’re just for vocals. Recently I picked up — yes — a matched pair of SDCs and those are now my guitar mics. Who knows if I’m receiving some benefit because they’re matched? I’d probably never be able to tell the difference between using them and using an unmatched pair of the same model. But there’s no cost difference whether you buy two unmatched mics or one matched pair. With my matched pair they threw in an XY bracket and a padded metal case, two nice things to have.
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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; 07-19-2022 at 11:55 PM. |
#23
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#24
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Yes, there are 4 or 5 classic placement setups, but you can home in on one you prefer after a few trials. Once you get that down to practice, mixing is easy. You balance the volumes of L and R, and decide on how much you want to pan — and where you want the guitar to come from in the stereo field. (For solo guitar it’s just hard L and hard R.) When you have balance and pan dialed in, you buss both tracks to a guitar buss for any additional mixing plugins you might want. Mixing the buss is exactly like mixing a single mono track, only it’s in stereo. That’s why I use two mics. As an alternative you can record into one stereo track, but you’re stuck with balance and pan to a greater extent that way. (A fanatic might want to go artificial and EQ the 12th fret mic higher and the lower bout mic lower, sort of like expanding the contrast of a B&W photo. But I think we would agree that would border on obsession.) But back to your central question: just forget about matched or not. I do think you make your life easier if you use two of the same model.
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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; 07-20-2022 at 11:41 AM. |
#25
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Assuming great talent and great instruments a $3200.00 U-87 in a troubled room is gonna sound bad and there's absolutely no way around that. Conversely, a $99.00 AT 2020 in a great room will quite simply outperform the U-87 in a bad room. The same scenario goes for interfaces. A great interface in a bad room is gonna sound bad. Again, besides talent and great instruments (when microphones are being used) the room is the single most critical component of sonics in recording, particularly acoustic instruments. If there's a budget to be spent my advice is always, always the room first. |
#26
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I second that.
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#27
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Great advice. What can be done to improve a room on a limited budget?
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#28
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Check out page 2 of the sticky at the top of this topic. Lots of info on room treatment, including some budget options. I agree, room acoustics are the most important thing by far. Very little else matters if the room sounds bad.
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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 |