#16
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Just a bit of reverb.
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http://www.cdbaby.com/Artist/DannyKlass |
#17
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A little bit of reverb, a little bit of compression.
For a 12 string type sound I cheat a bit with chorus and also use a volume booster when playing lead.
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The Big Fat Lady 02' Gibson J-150 The Squares 11' Hummingbird TV, 08' Dove The Slopeys 11' Gibson SJ (Aaron Lewis) The Pickers 43' Gibson LG-2, 09' Furch OM 32SM (custom) , 02' Martin J-40 The Beater 99' Cort Earth 100 What we do on weekends: http://www.reverbnation.com/doubleshotprague |
#18
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Other than a little EQ, and maybe just a bit of compression and a little reverb, hardly any. Neither my voice, or my Balladeer require any.
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#19
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Quote:
As to effects, sometimes it was the room he was recording in. Other times he added reverb and/or chorus and/or delay. And, of course, there are Michael's techniques and the nature of his compositions. Last edited by sdelsolray; 05-27-2015 at 08:22 PM. |
#20
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If you like the sound of your guitar and the room you record in has good sound (and hopefully some acoustic treatment), then you shouldn't need much EQ, except to let it blend into the other parts of a recording. Track it well, you dont' need to do much else.
I've used very minimal chorus on one song I recorded in the last year. Compression very occasionally if I find I've got a hard attack strumming going on. Reverb (very minimal) goes on most tracks when I record, using a buss. Anything else would be an effect for the effect's sake, not to make the guitar sound better.
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Mike My music: https://mikebirchmusic.bandcamp.com 2020 Taylor 324ceBE 2017 Taylor 114ce-N 2012 Taylor 310ce 2011 Fender CD140SCE Ibanez 12 string a/e 73(?) Epiphone 6830E 6 string 72 Fender Telecaster Epiphone Dot Studio Epiphone LP Jr Chinese Strat clone Kala baritone ukulele Seagull 'Merlin' Washburn Mandolin Luna 'tatoo' a/e ukulele antique banjolin Squire J bass |
#21
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I would start with a tiny amount of delay and then add some reverb if I feel,it is needed.
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------ AJ Lucas Pavilion Sweep fan fret Santa Cruz OM/E (European Pre War) Martin J40 |
#22
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What can be wrong when it comes to develop several sorts of sounds ? Hopefully you're kidding, music has no rules.
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https://soundcloud.com/delaorden |
#23
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In terms of Michael's Rig This Might Help
Aloha Grumbum,
Scroll down here to Michael's stage rig from his website: http://www.nomadland.com/Point_A.htm It might help get the basic Hedges lay of the land in terms of his FX approaches & signal chains, the many. I had a chance to hang w/ Michael for a few days at the end of a global tour in Germany in '88. Saw him set up & breakdown his live rig half a dozen times & asked questions as I drove him around to half a dozen gigs. Michael's FX sound changed with every gig/venue. Yes, there often was a lot of air in his basic setup - but not always. He varied the sound & amount of FX alot. Effects were tools to Michael, another toolbox to master & push the limits on, like everything in his sadly shortened, but joyfully full life. And he didn't seem to plan how he implemented them. Just grabbed one & threw it in where he wanted it - in real-time on the fly. Andy McKee probably does Michael's music better justice than most. You should email Andy about how he equates that Hedges sound. He gets very close using a K&K pickup & combo of Hedgian-like FX. And his playing is getting so musical now. He's terrific! In terms of Michael in the studio, sdelsolray provided some great info. I'd imagine that Windham Hill's very creative, ground-breaking engineers on Aerial Boundaries: Steven Miller, Bill Mueller & Oliver DiCicco & also Cookie Marenco could provide more info as well. Just think of how much fun Michael, Steven & Ackerman had editing those tracks in Will's Southern Vermont studio in post, Ha! FWIW, I prefer the natural un-abetted sound of playing an acoustic guitar. Therefore, I don't add much in the way audible FX to my acoustic tracks: a room & hall reverb on most, maybe some slight delay or light chorus for barely perceptible air, some medium tremolo for slow slide blues. But you rarely can hear those FX, they're more for texture, how it feels. I like Logic Pro's Designer onboard plug-in's along w/ Altiverb 6 reverbs, Waves Silver Bundle exterior plug-in's, UA 1176 external compressor (for vocals), a TC M-2000 stereo external FX unit, & Ozotope's Ozone 5 to clean up the low end & room. That said, I hope someone can take Michael's musical FX experiments forward - & make them more musical than most copiers have been. Many technicians (all chops, no heart) have come & gone trying to enter the Hedge's tradition. But few have left musical tracks that could move our hearts & minds the way Michael's did - FX & all. We all miss that guy. alohachris Last edited by alohachris; 06-03-2015 at 11:53 AM. |
#24
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Deleted characters
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"I've always thought of bluegrass players as the Marines of the music world" – (A rock guitar guy I once jammed with) Martin America 1 Martin 000-15sm Recording King Dirty 30s RPS-9 TS Taylor GS Mini Baton Rouge 12-string guitar Martin L1XR Little Martin 1933 Epiphone Olympic 1971 square neck Dobro Last edited by DesertTwang; 06-10-2015 at 08:51 AM. Reason: Wrong thread |
#25
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Quote:
Playing at home, I usually just try to get my fingers to produce good tone, and walk around the room to find a spot where sound bouncing from the walls adds some ambience. Some more adventurous stage performers get cool stuff done with splitters, loopers, octave pedals and whammy pedals... (edit: first time, I did'nt notice this was in the Recording section)
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Breedlove, Landola, a couple of electrics, and a guitar-shaped-object Last edited by perttime; 06-11-2015 at 07:20 AM. |
#26
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I was talking about something I was experimenting with live but with recording if the track calls for it I'm not against using subtle saturation to beef up a track or give it a little hair as I like to say, as a matter of fact it's done all the time and part of the premise of the new Bagg's session pedal.
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#27
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Quote:
I was thinking of distortion as used in electric guitars - but this thing with adding "hair" or harmonics while still sounding like acoustic makes sense too. Acoustic pickups tend to sound ... dry. This just might fix it for live use, and recording where you don't have megabucks and days to improve a guitar track.
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Breedlove, Landola, a couple of electrics, and a guitar-shaped-object |
#28
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Quote:
Did some noodling around with the EBow and Lowden last night , with nickel-wound electric guitar strings (better response to the EBow's magnetic field). Left channel : small diaphragm condenser mic -> mic preamp -> compressor pedal -> delay pedal -> usb mixer Right channel : Baggs soundhole pickup -> Line 6 Pod 2.0 (amp modeler , set with a splash of reverb and delay swell ) flanger pedal -> delay pedal -> usb mixer. Lots of possibilities I'm only beginning to experiment with, and there's a synth/wah pedal in the mix . What came out last night was nothing less than amazing sounds (not necessarily amazing music, but it's music to my ears) . The EBow and electric-strung Lowden is a magnificent combination ; a glorious fountain of sonic delights . I almost don't even need an electric guitar, but I have one now and will experiment more with it too. This is fun
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#29
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Quote:
But that's for that part of my playing . For straight-up solo acoustic (fingerstyle ) , yeah, with a good mic , recording , and room setup (which I don't actually currently have (bad room) , I don't NEED any fx , but have used a little anyway. The EBow thing is a whole other universe though . Different parameters and possibilities entirely, and no rules, and especially no right or wrong (just what sounds good or not).
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http://www.soundclick.com/bands/defa...&content=music Last edited by D. Shelton; 06-15-2015 at 04:19 AM. |
#30
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I just put together this pedal board for musical experimentation. I have the option of using all or none...
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Alvarez 66 CE Alvarez AJ80CE Takamine F340 Guild F-2512 Deluxe CE Ibanez Acoustic Bass 12 M1 Martin 12 string X Series Harley Benton Telecaster EVH Wolfgang Formerly known as Martin Maniac..... M |