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Hi-end classical guitar recording Condenser Microphones
Old 19th August 2018
  #271
Gear Maniac
Quote:
Originally Posted by Brent Hahn View Post
All you have to do is ask. I especially love the bendy bits in the "beat it out the back door" verse :-) [. . .]
Up 'til now I figured Robert and David had the really good stuff. You been holdin' out on me?

I always thought the lead was on rusty Black Diamond cowboy steel strings so old they just sounded a bit like nylons here and there. Either way, a great pick!

Quote:
Originally Posted by robert82 View Post
A timeless masterpiece!
I was worried many would be kinda more partial to Roy Rogers. Always liked those sequin shirts. [1]

Ray H.

Footnotes
[1] More plagiarism. Apologies. Yippie-Ki-Ya. . .

Brent - All kidding aside, I grew up on country/western - with a healthy dose of Marty Robbins - and love this tune. Thanks!
100% Approval! Concur with Robert: A timeless masterpiece!
Old 19th August 2018
  #272
Gear Guru
 
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Pretty sure that's nylon strings and a pick.
Old 19th August 2018
  #273
Gear Maniac
Quote:
Originally Posted by Brent Hahn View Post
Pretty sure that's nylon strings and a pick.
I've heard it done a number of ways. But here is one to check:



[EDIT] You may be right for some versions of this tune. Don't think so in this case, or the previous link. [/EDIT] I was kidding about Black Diamonds. I'm actually thinking tape wound, maybe?

Just between you and I [don't tell the others], I'm never really sure given the different mixes of this tune over time. . .And I call myself a guitar player!

Hugh will know, I bet.

- Ray H.

[EDIT]

Black Diamond just evoked more of a 'cowboy image' than La Bella for me - so I lassoed that doggie. Jazzman Andy Roemer (previously mentioned) - who I played with for years and thousands of hours - used La Bella tapewounds on his Gretsch 7-string, so I should remember better how they sound. But that was over twenty years back and we never covered this tune. We did do 'I Don't Know Why' and likely a few other tunes Marty also covered. An image of Andy and a much younger me is attached. Both my eyesight and hearing are far weaker now - but these are tapewounds on his primary axe.

[/EDIT]
Attached Thumbnails
Hi-end classical guitar recording-andyroemer.jpg  

Last edited by RayHeath; 19th August 2018 at 02:23 PM.. Reason: Andy Roemer - La Bella tapewounds comment/pic, and versions clarification.
Old 19th August 2018
  #274
Gear Maniac
Another guy to look at is Dominic Miller who has worked a good bit with Sting.

Dominic Miller - On 'Shape of My Heart', Practicing, Composing



I generally see Dominic using DI of one sort or another. He seems so focused on live performance; but I would like to find him in studio with proper microphones on a high-end classical guitar. . .maybe somewhat different than the Torres copy here.

Ray H.
Old 19th August 2018
  #275
Gear Guru
 
Brent Hahn's Avatar
 

Quote:
Originally Posted by RayHeath View Post
I've heard it done a number of ways. But here is one to check:
That's pretty awesome for a bunch of Brit studio cats.
Old 19th August 2018
  #276
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Quote:
Originally Posted by RayHeath View Post
Another guy to look at is Dominic Miller who has worked a good bit with Sting.
Here's Miller in Rainbow Studios, Oslo.
I sure would love to know the mic placements, and even more, Kongshaug's reverb techniques.

What I do know: he often uses a spaced pair of C800gs on acoustic. And he has the TC 6000, a 980L and a Bricasti. Someone who has been in the studio said that, to the best of his recollection. several reverb units are run on parallel sends and EQed differently.



YouTube
Old 19th August 2018
  #277
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Quote:
Originally Posted by robert82 View Post
Here's Miller in Rainbow Studios, Oslo.
I sure would love to know the mic placements, and even more, Kongshaug's reverb techniques.

What I do know: he often uses a spaced pair of C800gs on acoustic. And he has the TC 6000, a 980L and a Bricasti. Someone who has been in the studio said that, to the best of his recollection. several reverb units are run on parallel sends and EQed differently.
besides the fact that jan erik kongshaug has an incredible track record (up there with bob clearmountain or al schmitt), imo he pretty much defined a specific aesthetic expression by his use of digital reverbs and hence influenced a whole generation of musicians - and in this regard even 'surpassed' the aforementioned engineers.

i wouldn't say his mixes sound always very natural, but rather über-natural with a airy touch and are mostly very pleasing to listen to. however, i don't like his approach that much with some more powerfull musicians such as the (early) pat metheny group or terje rypdal (to stay on topic of 'high-end' guitar music and referring to personal memories of mixing these artists live: no way of recreating jan's reverb sound live or you'll end up with a huge wash/blurred sound/things drowned in reverb, no matter how you are trying to eq it...- well, maybe it would be possible in a very controlled, dry environment, but where does such a large room/hall exist?)


Quote:
Originally Posted by RayHeath View Post
...holdsworth and landau are, to be sure, guitar players' guitar players! Alan was a gift who is truly missed...

...I don't hate pianos.
can't ask alan anymore whether it'd be okay to post some board mixes here, so i won't, but michael landau was kind enough to let me post a few excerpts of some shows i mixed not too long ago; will do so shortly.

some guitar players largely profit from playing together with pianists: i cannot imagine the pat metheny group without lyle mays on piano/keyboards!

(drummer here: could tell a few things on pat's influence on the drummer's choice of cymbals...)
Old 3 weeks ago
  #278
Gear Maniac
Long before now I intended to report back on what I've tried from the great suggestions and ideas expressed from you all on this thread. . .but apparently I'm a slacker. Sorry. I can say that to date, I've invested in a pair of Schoeps CCM 5 mics, a pair of AKG C414 XL II mics, and a single AEA A440 ribbon specifically for this effort - all truly great each in their own way. There are a few other notions I want to try, and I still intend to report back more fully somewhere in the future.

However, Stephanie Jones' new cut on Cielo Abierto is what inspired this post today. . .recorded on a lowly Zoom. [good job Jakob Schmidt, though I wish you owned a nice ribbon or two]. Some of you may appreciate the distraction. . .I did!



Yea, Robert was right - Stephanie really should be huge someday! ! !

Best regards,

Ray H.
Old 3 weeks ago
  #279
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Quote:
Originally Posted by RayHeath View Post

However, Stephanie Jones' new cut on Cielo Abierto is what inspired this post today. . .recorded on a lowly Zoom. [good job Jakob Schmidt, though I wish you owned a nice ribbon or two]. Some of you may appreciate the distraction. . .I did!
I too was utterly amazed at the fidelity of this recording with a simple x/y pair on the end of a Zoom. This represents some serious balance and use of room acoustics. A bedroom, it ain't.

The downside ( ) is that it kind of makes all my questing after the perfect mic feel a little less urgent or important.
Old 3 weeks ago
  #280
Gear Guru
 
Brent Hahn's Avatar
 

Quote:
Originally Posted by robert82 View Post
I too was utterly amazed at the fidelity of this recording with a simple x/y pair on the end of a Zoom. This represents some serious balance and use of room acoustics. A bedroom, it ain't.
When you spend all your time recording in the same room, you stop hearing the room. Or at least I do. It's really healthy to get out and about and record stuff in different spaces to restore your perspective.

FWIW, I have a tiny recording a friend made with her phone in the live room at Sun in Memphis during a soundcheck. It's got the Sun vibe all over it -- don' need no steenking KM84.
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