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Actually, I'm only using open mikes--no piezo at all, which I think supports your comment about the sound being steely. The mike setup was an LDC pointed at the 14th fret and an SDC pointed at the saddle end of the soundhole. They're not expensive mikes--weakest link in the chain (after the player). I suspect the steeliness might be due to vertical position of the SDC (too close to the treble strings), or to the mike itself.Are you using a mike as well? The top end just seems a little steely.. I usuall find that adding a mike pointed at the twelth fret adds a bit of midrange and calms down the piezo top end.
Busted. Yes, it was one session but I recorded the fast section separately. (Ironically, that was easier and less takes than the slow "easy" sections.) I heard that tone change too and was trying to remember whether I fiddled with the preamp knobs during the session; it's a new toy for me and I am still learning, but obviously I should have left everything set where it was for the duration. I like the tone of the fast section better, personally.Was this compiled from a few different recordings?
An artifact of the mixing process on the computer--for some reason the volume of the right channel dropped way low for the middle section--probably knob twisting again--so I tried to compensate for that in Audition through a variety of means, including panning some of it toward the middle. Fact is, I'm learning my new preamp AND my new editing software, so I think the engineering here is a mess and will probably redo it when I get the chance. It gave me a whole lot more problems on the computer than I thought it would, and I don't know what I'm doing there as well as on the guitar.The panning of the guitar changes through the track
I missed that one, but you're right.There is some distortion/clipping at some points during the clip, especially during one of the pull-off bits in the fast section.
Actually, I don't mind a certain amount of that, but I'll listen again when I re-edit the thing on the computer.The playing is for the most part very clean, but there are a few string squeaks that I think you could clean up.
First off, comping takes together is a perfectly valid way to record a tune. You just need to be careful about any differences in tone, volume, tuning, mic placement, etc.Originally posted by zenpicker
Busted. Yes, it was one session but I recorded the fast section separately. [snip]I like the tone of the fast section better, personally.
Have you thought about keeping a notebook of you engineering decisions? Michael K suggested this and I think it is a useful thing to have. I'll write down gain settings, microphone positions, compressor settings, and any other comments that might affect the performance or the recording. It becomes very useful when you listen back to something a long time after recording and can't remember how you achieved the sound. It is also a good way to learn about your equipment.An artifact of the mixing process on the computer--for some reason the volume of the right channel dropped way low for the middle section--probably knob twisting again
It is a tough call to decide how much string noise is acceptable. For some reason, it really annoys some people who listen to my playing, so it is something I'm more conscious of. The last CD I did had some tracks with Elixir Nanoweb strings and some with John Pearse Phosphor Bronzes and the most striking difference between the two was the string noise. A lot of non-musicians picked up on the difference.Actually, I don't mind a certain amount of that, but I'll listen again when I re-edit the thing on the computer.
I do, actually, though I am probably not as assiduous as I should be in noting all the details. I think the big problem this time was changing the settings midstream. Once I know the gear that shouldn't be necessary.Have you thought about keeping a notebook of you engineering decisions?
I use the Elixir Nanowebs with a pair of small diaphragm condensors - I haven't found an acoustic guitar pickup that I liked enough to install on a guitar. There are a few varieties of Elixirs out there, but I usually use the Nanowebs, which are the brightest of their strings. I'm a big fan of the sound of fresh strings, so I usually put a fresh set of Nanowebs on before recording. You might have tried the Polywebs, which definitely sound dead.Originally posted by zenpicker
Bryan - Do you record with the Elixirs on open mikes or with a piezo?
I have a matched pair of Josephson C42 mics that I usually use in an XY configuration. I use an Apogee Mini-me for my microphone preamps, as a limiter, and to do the A/D conversion process. From there, the digital data goes into Pro Tools LE. I usually record using an iBook, as it is quieter than my desktop, but I do most of my editing on an old G4.Originally posted by zenpicker
What kind of condensor mikes do you use?
I don't have anything online, but I'll send you something tonight.Originally posted by zenpicker
Anywhere I could audition your stuff created with that setup? Curious to hear the Josephsons. I feel a microphone purchase coming on, so I'm looking/listening...
Hey, if a big leap makes a song better by a leap, it might be worth doing.Originally posted by zenpicker
Maybe what I need to do as the song continues to evolve is extend the melody into a slow B part (actually a C part) that flows from the central melodic line, and see where that takes me. Not quite sure I will abandon the fast section--that would be a big leap!... Somehow the dark tone of the A part isn't enough to capture her--she's got this playful side that the fast part expresses, for me at least.
I tend to come down on the side of the song and its needs rather than the context that spawned it. There's a long discussion about the universality of the artwork there, and an interesting one.how important is the real-world emotional connection vs. writing a better, more cohesive song for the song's sake