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  #16  
Old 05-29-2012, 09:59 PM
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I think you might have a wolf tone creating boomy peaks somewhere around the G frequency.

A multi band compressor is the tool to deal with this. Tune the lowest band in to around 150hz (probably - but use your own ears to judge). Set the threshold to catch the peaks but let the "normal" levels through. Set the compression ration high. You should have individual faders for each band to help balance out different parts of the spectrum (ie multi band eq) as well setting compression.

A multi-band compressor is a bit more subtle than EQ because attenuation only kicks in above a certain level. That means you can keep the bass end and lose just the boom. With EQ alone, you'd be turning down bass everywhere, even where it isn't a problem, just to deal with the peaks.

Of course, you may need to do a little of both.
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  #17  
Old 05-29-2012, 10:12 PM
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Quote:
Originally Posted by rick-slo View Post
Dead link though link in this post works. Odd.
Odd, but I see what happened. Strange that the quoting fixed it. I edited the original link now
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  #18  
Old 05-29-2012, 10:14 PM
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Quote:
Originally Posted by moon View Post
A multi band compressor is the tool to deal with this.
Agreed, that's what I'd do if I was to try to fix this, but it'd be better to play with mic placement and deal with it going in.
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  #19  
Old 05-29-2012, 10:28 PM
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Wow Bern!

That's really nice playing...

What kind of space are you recording in? How far from walls? Floor coverings?

Tell us about your Kronbauer mini-jumbo (mine is Koa/Sitka). Yours sounds warmer than mine…

Nice to hear you play...

If you capo up 2 frets, do you still get the louder notes? How about if you tune down ½ step?

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  #20  
Old 05-30-2012, 04:18 AM
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Quote:
Originally Posted by ljguitar View Post
Wow Bern!

That's really nice playing...

What kind of space are you recording in? How far from walls? Floor coverings?

Tell us about your Kronbauer mini-jumbo (mine is Koa/Sitka). Yours sounds warmer than mine…

Nice to hear you play...

If you capo up 2 frets, do you still get the louder notes? How about if you tune down ½ step?

Thanks Larry

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..and yes, capo in 2nd & down ½ step
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  #21  
Old 05-30-2012, 07:29 AM
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Bern: can you do a test recording to check for wolf tones? As Doug said it might be mic position but it would be good to rule this out.

Play every note on the E, A and D strings from the open string right up to the 12th fret. Play each note carefully with the same pick pressure, and use a picking position at the fretboard end of the sound hole, ie away farther away from the bridge than you (probably) normally play. Picking too close to the bridge excites all the treble frequencies in the string but few of the low ones (incidentally that's how you can try to play around it). You need to get up into the "honey tones" to really bring out the boom, if it is there.
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  #22  
Old 05-30-2012, 11:35 AM
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Quote:
Originally Posted by moon View Post
Bern: can you do a test recording to check for wolf tones? As Doug said it might be mic position but it would be good to rule this out.
Boominess could also be due to room acoustics.
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  #23  
Old 05-30-2012, 12:03 PM
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Quote:
Originally Posted by moon View Post
Bern: can you do a test recording to check for wolf tones? As Doug said it might be mic position but it would be good to rule this out.

Play every note on the E, A and D strings from the open string right up to the 12th fret. Play each note carefully with the same pick pressure, and use a picking position at the fretboard end of the sound hole, ie away farther away from the bridge than you (probably) normally play. Picking too close to the bridge excites all the treble frequencies in the string but few of the low ones (incidentally that's how you can try to play around it). You need to get up into the "honey tones" to really bring out the boom, if it is there.
I can do that. Do you want me to mute the G, B & E strings ? When I recorded the piece I did play just above the sound hole. I decided to play the song not near the bridge, because I was trying to achieve a warmer overall sound, which I felt the song needed to project.
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  #24  
Old 05-30-2012, 12:09 PM
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Bern, what is this tune? Something of yours? Or is it a cover? If it's a cover, you might compare your sound with the original as an aid to dialing in the sound.
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  #25  
Old 05-30-2012, 12:22 PM
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I don't know if standing waves would explain what I think I'm hearing, although that's not to say they aren't present too. I'm pretty sure I recognise a wood-based thump. Listen to the low F# (absolute - not sure how the guitar is tuned) at 21s and 42s. The first one you might think, OK he just played it hard, but at 42s there's a much gentler stroke and I can still hear a distinctive thump.

It's at the right fequency for a wolf tone ie somewhere around F# to G#. That's a fairly common problem which unfortunately my own guitar suffers from. I find that you kind of tune it out when you're sitting around playing but, when you're recording, everything's under the microscope and there's nowhere to hide.
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  #26  
Old 05-30-2012, 12:27 PM
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Quote:
Originally Posted by Bern View Post
I can do that. Do you want me to mute the G, B & E strings ? When I recorded the piece I did play just above the sound hole. I decided to play the song not near the bridge, because I was trying to achieve a warmer overall sound, which I felt the song needed to project.
You won't need to mute the high strings. If it is a problem at all, it should be pretty obvious. As you move up the fretboard there will be two or three frets where you hear a loud, deadened thump embedded in the tone, and then it will go back to its normal, sweetly resonant self.
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  #27  
Old 05-30-2012, 12:37 PM
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Quote:
Originally Posted by Doug Young View Post
Bern, what is this tune? Something of yours? Or is it a cover? If it's a cover, you might compare your sound with the original as an aid to dialing in the sound.
It's an original, Doug...nothing to compare it to.
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  #28  
Old 05-30-2012, 12:42 PM
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Quote:
Originally Posted by Bern View Post
It's an original, Doug...nothing to compare it to.

Good, nice tune! You could still find a reference track that has the same mood or sound you want to compare to. It really helps me,at least. It's too easy to lose perspective without something to calibrate your ears.
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  #29  
Old 05-30-2012, 12:46 PM
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Quote:
Originally Posted by moon View Post
I don't know if standing waves would explain what I think I'm hearing, although that's not to say they aren't present too. I'm pretty sure I recognise a wood-based thump. Listen to the low F# (absolute - not sure how the guitar is tuned) at 21s and 42s. The first one you might think, OK he just played it hard, but at 42s there's a much gentler stroke and I can still hear a distinctive thump.

It's at the right fequency for a wolf tone ie somewhere around F# to G#. That's a fairly common problem which unfortunately my own guitar suffers from. I find that you kind of tune it out when you're sitting around playing but, when you're recording, everything's under the microscope and there's nowhere to hide.
Interesting, moon...When I play I do try to project what I'm feeling. I can see that it might be my inexperience in recording a moody piece. I'm sure you have noticed that took certain liberties in terms of tempo at the end of some phrases. I hate to play like a machine...
I will record what you've said earlier. I just have to learn from you guys...thank you for that.
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  #30  
Old 05-30-2012, 12:50 PM
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Quote:
Originally Posted by Doug Young View Post
Good, nice tune! You could still find a reference track that has the same mood or sound you want to compare to. It really helps me,at least. It's too easy to lose perspective without something to calibrate your ears.
Hmm...I really can't think of a moody tune like that of hand. Maybe. someone could compare it with something they've heard.
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