#16
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I think I'm more convinced of the studio approach at this point. I've really liked what we've come up with. When I reference the 'hall' I guess I really mean the 'room' in a smaller context. As the guitar is not a huge sounding instrument acoustically, only a smaller, more moderate space would enrich it's sound. TY are you using just one mic, its a great sound that you get? Course it is a 12 fret triple O, who's the builder? I've been curious about the Candy Rat records approach. In the videos it seems that they are using one mic a foot'ish' away with one mic. I would expect that to incorporate the room sound. Is there something special about the room they use? I know my instrument sounds completely different based on the room it's played in. We've had to use at least 2 mics to get an accurate sound in our situation. My Lowden has so much sustain that we use very little reverb. cheers
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chris http://www.chrisweissmusic.com Lowden O25C Martin OOO 1935 Gibson 335 custom '68 Reissue Custom Fender Strat |
#17
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The Candyrat guys almost all record with multiple sources. I know Andy McKee's videos have the one mic just off the soundhole and then the mic feed is mixed with a K&K soundboard transducer and a Sunrise magnetic pickup. The even bass is from the magnetic pickup. The slap/pop/percussion is all the soundboard transducer which pickups up everything. Even tapping on the back of the neck.
If you want to experiment with stereo micing you are best off getting 2 mics you can afford and playing around with mic positioning. Don't do something like go without for years so you can save up for a pair of U87s or something since you don't get any practical learning done in the meantime. SM57s aren't always ideal but they are great, cheap, indestructible mics with many uses so its always good to have a couple around. So if you want to just get stuck in, bag a second 57 and try XY pairs, ORTF pairs and spaced pairs. Vary the distance and definitely do go wild with distance and direction to see where it can all go wrong. You will learn as much by screwing up and producing terrible recordings as you will by getting it right on the first take. As they say, a person is not just the sum of their successes but the sum of their successes and failures. Don't worry if you don't have expensive mics. You can get great results with cheap mics and the knowledge to use them appropriately. Having a locker of expensive mics is more about flavour and workflow than anything else. If you know how certain mics work in certain situations it saves you having to get what you want by tricking it in the mixdown which is time consuming and fraught with all sorts of other problems. Experimenting also lets you get a feel for critical distances when micing up which is something thats relative to the room size and dimensions rather than to do with fixed distances from the source. Experimenting with spaced pairs gets you a feeling for null zones and things like that. As a general rule, if you don't like the sound of your guitar in the room you are recording in, you are unlikely to get results you are happy with using distance micing. Close micing lets less of the influence of the room through but doesn't replace it with anything so you will get a very dry sound. It wont sound like your guitar sounds when you play it in a room. Therefore you will need to either simulate a real acoustic space with reverb or you will need to move your recording gear into a room you do like the sound of. Also, if you have ever moved house you will know that your room sounds very different when you move all your stuff out and its empty. Cluttering up walls with shelves and pictures can act like diffusers which change the way sound reflects off flat surfaces. This is why some people stick egg cartons on their walls (makeshift diffusers) but I don't recommend doing this because it will turn your room into a giant fire hazard. Last edited by Pokiehat; 04-20-2010 at 01:17 PM. |
#18
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An expert is a man who has made all the mistakes which can be made in a very narrow field. Niels Bohr
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Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#19
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Very true. Its also humbling and empowering when a giant like Niels Bohr says something like that because you know that he was once just like you and me. Fluffing things up, walking blindly from one mistake to the next. So every time you get frustrated and feel like you aren't getting the sound you want, think of Niels Bohr for a second and throw yourself back into recording and get it wrong another thousand times. Eventually you will get really really good. Some of you will get so good that others will start to pay you money to record them. I know! Not monopoly money either!
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#20
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It will always be an art and science. Whatever level of detail one has of the science of audio or one knows of how
a parameter change here will have an effect over there, the final arbiter is the ears.
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Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#21
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Regards, Ty Ford |
#22
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We also did not point a mic at the end of the fingerboard. The mics were primarily Neumann and AKG on both CDs. You can listen to clips of both on my web site. HE http://www.howardemerson.com/ |
#23
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Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#24
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Thanks! Yes, one Schoeps cmc641 into either a GML pre or a Millennia Media STT-1. If it's the video of "Look Ma, I'm Flyin'" you're talking about, that was the cmc641 into a Sound devices 442 mixer and into a Canon XL2 camera. At least one stereo reverb, most likely two...it's been a while, but I usually use two reverb plugins and blend them. There's also a phaser on the C part of the song about 3/4 the way through. I added that just to keep it from getting boring, then took it out after the part. I received some criticism for "junking up the piece" with the phaser, but I don't care. It works for me. The guitar is a D28s Martin from @ 1969. Indian Rosewood, so I'm told. My room is definitely tricked out. It's a 25' x 35' space (minus about 20% on one corner for a stariway and bathroom.) wall to wall plus one area rug, 7.5 foot dropped ceiling with selective 1" foam panels on the 2' x4' acoustic tile, selective use of 4" foam panels on some walls, at one end of the room the entire wall is covered with built in shelves floor to ceiling holding my LP collection. That makes a great diffusion wall. The room is tight, but not dead. Regards, Ty Ford Last edited by Ty Ford; 04-22-2010 at 09:10 PM. |