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Old 10-25-2020, 08:47 PM
shufflebeat shufflebeat is offline
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Default Rethinking the TD for recording.

I'm recording my Tak ef341sc in my usual room but we have builders next door for a few days so decided to try the pickup and Tonedexter combo. I've got this mainly for live work so wavemaps are chosen for nice percussive sound and resistance to feedback.

In this scenario I tried a few of my new mics I haven't already TD'd and found the following:

Senn md421 is awful
Senn e935 is resonant and phasey but...
Fit a soundhole plug and the sound cleans up significantly. This is s/t I found with the sm57 which was my favourite live w/m so far.

It seems to be more useful with dynamic mics but I've not done enough experimenting to be confident on this.

Anyone else revisiting the TD recently?
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Old 10-26-2020, 03:58 AM
Ken Carr Ken Carr is offline
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It's funny you mentioned it. Yesterday I was trying to make some wavemaps using a Neumann tlm-103. The wavemaps sounded too bass heavy no matter how or where I positioned the mic. I got much better results using my DPA 4099g clip-on small diaphragm condenser mic.
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Old 10-26-2020, 05:08 AM
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ljguitar ljguitar is offline
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Quote:
Originally Posted by shufflebeat View Post
…It seems to be more useful with dynamic mics but I've not done enough experimenting to be confident on this.

Anyone else revisiting the TD recently?
Hi s-b

I am NOT revisiting my ToneDexter wave-maps. I spent time, energy, and experimentation pulling the best samples I could. Like you mentioned, when I'm playing live I use a Feedback-Suppressor (Rubber sound hole plug). This eliminates feedback without affecting tone.

The space one records in (pulls wave-maps etc) has as much effect on waveforms as the mics. I'm guessing they are equally important. The style of music you play also affects it.

My best ones were pulled with either my AKG 414 or my Shure KSM-44 in a fairly non-reflective space (one I've used over the years for great recordings of acoustics). I'm a full-time fingerstyler, so that may be why I tend to lean in the selections I made for mics.

Every dynamic mic I tried was found wanting, and the small diaphragm condensers, while clean and detailed, just don't sound like studio recordings of my guitars (which I've been making for over 15 years).

Good luck figuring it out. Experiments can be fun…



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Old 10-26-2020, 06:40 AM
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SprintBob SprintBob is offline
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If you are recording via the pickup thru the TD and then to your recording device via the TD Wavemap, I would believe that the Wavemap is a primary factor to the best recording. So create the Wavemap with the most recommended mics for recording acoustics which seem to be one or more SDC’s in the context of the room and the style you play per Larry’s advice above. I think you are finding that dynamic mics for this task will be a challenge or unacceptable.
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Old 10-26-2020, 09:55 AM
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Quote:
Originally Posted by SprintBob View Post
If you are recording via the pickup thru the TD and then to your recording device via the TD Wavemap, I would believe that the Wavemap is a primary factor to the best recording. So create the Wavemap with the most recommended mics for recording acoustics which seem to be one or more SDC’s in the context of the room and the style you play per Larry’s advice above. I think you are finding that dynamic mics for this task will be a challenge or unacceptable.
Hi SB

I cannot speak of every person's success, but there is an instance where the dynamic mics seem to be preferred, and that's with Blugrass flat pickers. There are some great YouTube examples of Billy Strings and Molly Tuttle using SM-57 wave maps live.

The Bluegrass culture has used Shure SM-57s on instruments for so long that it is the 'expected' sound. The benefit to the ToneDexter wavemap being pulled on an SM-57 is it sounds like what they are accustomed to - only louder. This liberates the player to wander away from his/her mic.



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Old 10-26-2020, 10:06 AM
Petty1818 Petty1818 is offline
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Hi SB

I cannot speak of every person's success, but there is an instance where the dynamic mics seem to be preferred, and that's with Blugrass flat pickers. There are some great YouTube examples of Billy Strings and Molly Tuttle using SM-57 wave maps live.

The Bluegrass culture has used Shure SM-57s on instruments for so long that it is the 'expected' sound. The benefit to the ToneDexter wavemap being pulled on an SM-57 is it sounds like what they are accustomed to - only louder. This liberates the player to wander away from his/her mic.



Is Billy using the TD now? I know he has the K&K but wasn't aware of the TD.
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