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Old 29th April 2009
  #29
member no 666
 
Fletcher's Avatar
Quote:
Originally Posted by whitepapagold View Post
ALL of the players bring multiple picks... So this is why I find it hard to buy the internet responses when Ive seen and played the difference... The guys actually doing the work- mimicing Johnson or Hendrix or Clapton for a session do AMAZING things with guitars and picks and old recording tricks...
Right!!

However... I've always worked from the perspective that it's the player's job to make the sound and the recording engineer's job to capture the sound in a manner that is complimentary to the music.

In my 30+ years of recording work I've never had a player ask me "hey, what mic are you planning on using on this so I can grab the right pick". I won't argue with you that a CK-12 is often lovely for recording acoustic guitars... BUT I have also found a plethora of other microphones that work just as well [and sometimes better] than an original C-12, C-24, C-12A, C-12B, C-412, C-414, C-414EB, ELA M 250, ELA M 250E, ELA M 251, ELA M 251E [which are all the microphones I can think of that employ CK-12 capsules... I mean "real" CK-12 capsules there are others that employ the Josephson version of a CK-12 capsule and then there are the capsules AKG has been making since 1979 that have similar properties to CK-12 capsules minus the opulent tone part].

My point is, again, that I would choose the microphone for the sound of the instrument and not the instrument [pick, string gauge, where you strum the instrument... closer to the bridge or closer to the 12th fret] based on what microphone was being employed.

This seems like putting the cart before the horse to me... but again, I'm old and could very well be out of touch with how things are done these days.

Peace.