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Folk strumming acoustic tone Condenser Microphones
Old 11th June 2018
  #331
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12ax7's Avatar
 

If you really want to get a nice "little box guitar" sound, try this:

Mic a Gibson LG1 at about 7 inches out from the twelfth fret (aimed just a little toward soundhole).

The Beyer m201 is my fovorite for this.

Another favorite is the EV RE20 (closely followed by the Shure SM7).

If you're looking for a more "intimate sound", try an old U47.
.

Last edited by 12ax7; 11th June 2018 at 08:34 PM..
Old 11th June 2018
  #332
Gear Addict
 

Quote:
Originally Posted by 12ax7 View Post
If you really want to get a nice "little box guitar" sound, try this:

Mic a Gibson LG1 at about 7 inches out from the twelfth fret (aimed just a little toward soundhole).

The Beyer m201 is my fovorite for this.

Another favorite is the EV RE20 (closely followed by the Shure SM7).

If you're looking for a more "intimate sound", try an old U47.
.
Thanks 12ax7,
I have a Gibson B-25 coming my way soon, which I gather is comparable to an LG-2, should suffice to do some comparisons and see what kind of sound I can get with a smaller guitar. I've mentioned before that I once had an LG-0 and liked playing it, but that was back before I knew much about recording/sound so I'm looking forward to hearing the difference and, as you say, getting closer to that "little box" sound. For some of the songs I'm working on I think it will be a good fit.

I haven't used the M201, but seems like a decent mic for this purpose. I have tried dynamics on it - had some good results with a good ol' SM57, sounded better than putting the Sennheiser 441 on it to my ears - but nothing against the Sennheiser, just don't think it was made to be put on an acoustic. Goes to show it ain't the cost that determines the best mic for the job. Anyway, would like to try the M201 if I come across one.

Of course, for some songs the intimate feel is what I'm after - a U47 isn't in my budget right now, but is one of several mics I'm considering for my next big purchase. The EV RE20 is on my wish list as well - more for vocals, but would be interesting to see how it plays with my acoustics. I dunno, for now I keep going back to the SM81 - I've been able to accomplish quite a bit just moving it around and experimenting, amazing how little of movement can change the tone/sound of an acoustic. Seems to be a controversial topic, but adding in some compression has given me some good results as well. Trying not to overdo it, but just a touch helps me get a punchier sound when I'm attacking those bass notes a la Dylanesque strumming etc. Again, varies song to song.

Thanks so much!
Old 11th June 2018
  #333
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12ax7's Avatar
 

Quote:
Originally Posted by StevieD009 View Post
Thanks 12ax7,
I have a Gibson B-25 coming my way soon, which I gather is comparable to an LG-2, should suffice to do some comparisons and see what kind of sound I can get with a smaller guitar. I've mentioned before that I once had an LG-0 and liked playing it, but that was back before I knew much about recording/sound so I'm looking forward to hearing the difference and, as you say, getting closer to that "little box" sound. For some of the songs I'm working on I think it will be a good fit.

I haven't used the M201, but seems like a decent mic for this purpose. I have tried dynamics on it - had some good results with a good ol' SM57, sounded better than putting the Sennheiser 441 on it to my ears - but nothing against the Sennheiser, just don't think it was made to be put on an acoustic. Goes to show it ain't the cost that determines the best mic for the job. Anyway, would like to try the M201 if I come across one.

Of course, for some songs the intimate feel is what I'm after - a U47 isn't in my budget right now, but is one of several mics I'm considering for my next big purchase. The EV RE20 is on my wish list as well - more for vocals, but would be interesting to see how it plays with my acoustics. I dunno, for now I keep going back to the SM81 - I've been able to accomplish quite a bit just moving it around and experimenting, amazing how little of movement can change the tone/sound of an acoustic. Seems to be a controversial topic, but adding in some compression has given me some good results as well. Trying not to overdo it, but just a touch helps me get a punchier sound when I'm attacking those bass notes a la Dylanesque strumming etc. Again, varies song to song.

Thanks so much!
I LOVE the Beyer m201 on acoustic guitar (when you want an "honest" representation).

(If you find yourself wishing for more "hype", you probably chose the wrong guitar (or mic) in the first place.)
.
Old 11th June 2018
  #334
Gear Head
 

Quote:
Originally Posted by StevieD009 View Post
I dunno, for now I keep going back to the SM81 - I've been able to accomplish quite a bit just moving it around and experimenting, amazing how little of movement can change the tone/sound of an acoustic.
Glad to see some appreciation for the SM81 here. It's got a bit of a "tinnier" sound on acoustic in my experience but it can be really charming and beautiful. To be fair though, I have a strong preference for more "homegrown" acoustic guitar aesthetics like Bon Iver, Neutral Milk Hotel, and The Microphones.
Old 12th June 2018
  #335
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Quote:
Originally Posted by JohnEdson View Post
Glad to see some appreciation for the SM81 here. It's got a bit of a "tinnier" sound on acoustic in my experience but it can be really charming and beautiful. To be fair though, I have a strong preference for more "homegrown" acoustic guitar aesthetics like Bon Iver, Neutral Milk Hotel, and The Microphones.
Thanks John,
All good stuff, and glad to have another SM81 fan. For my purposes, I'm trying to find a balance between that "homegrown" honest sound, but a little more up-front and punchy, because I do a lot of bass picking/heavy strumming, and the only accompaniment I have is my acoustic. I've been getting pretty close experimenting with the SM81 and a touch of compression. Thanks again!
Old 12th June 2018
  #336
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Gear:
Taylor GS Mini
Studio Projects Mic Condenser
Yamaha N8 Firewire
Cubase 6
Old 12th June 2018
  #337
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Quote:
Originally Posted by Flyingossip View Post



Gear:
Taylor GS Mini
Studio Projects Mic Condenser
Yamaha N8 Firewire
Cubase 6
Nice playing man, sounds good. I think you got a nice honest sound from the one mic setup. Are you using your fingernail to strum? Thanks for posting.
Old 13th June 2018
  #338
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Quote:
Originally Posted by Flyingossip View Post
https://youtu.be/IYmlH7QzeH4


Gear:
Taylor GS Mini
Studio Projects Mic Condenser
Yamaha N8 Firewire
Cubase 6
Beautiful.
Old 14th June 2018
  #339
Quote:
Originally Posted by terrible.dee View Post
First you have to NOT DO what everyone is going to tell you to do to get the guitar ready to record

NO NEW STRINGS....PERIOD

If you put new strings on it, its going to have that sharp, defined sound you don't want,

It's got to be now just used strings but DIRTY ones, and you've got to break that guitar in, beat the **** out of it for a few months before you even think about recording,

Keith Richard's won't even play brand new electric guitars, he gives them to friends and then collects them a year later,

One more thing, an acoustic is what it is, by that I mean don't play guitar that sounds one way and start thinking that you want "that" sound. Trying to make an acoustic sound like anything other than what it is is a fool errand.

You should be able to pick it up off the rack strum one chord and hear what you want,

That's why a lot of engineers have their own acoustic that they insist artists use, for myself, I found a strange gawdy looking Epiphone in a Pawn shop earlier this year, when I strummed it, the first chord told me everything, I just said "Ring it up, I'll take it"

So, find a GUITAR that sounds the way you want....and then kick it's ass
Old, dead strings don't play in tune. Period.
Old 14th June 2018
  #340
Quote:
Originally Posted by terrible.dee View Post
Bro.....you are WAAAY off track, time to get this flaming wreck back on a flight path,

Go listen to KISS "Rock n' Roll over" 50 times, and remember.....this music thing is a front to get laid....people who get into Jazz have forgotten the original mission.
You are aware that the subject is early '60s folk guitar tone, not dumbass hard rock, right?

(Not saying that all hard rock is dumbass, but Kiss are not exactly known for their intelligence - or their musicianship..... or their subtlety......)

And I don't think that Kiss even gets anyone laid anymore.....
Old 14th June 2018
  #341
Gear Addict
 

Quote:
Originally Posted by terrible.dee View Post
First you have to NOT DO what everyone is going to tell you to do to get the guitar ready to record

NO NEW STRINGS....PERIOD

If you put new strings on it, its going to have that sharp, defined sound you don't want,

It's got to be now just used strings but DIRTY ones, and you've got to break that guitar in, beat the **** out of it for a few months before you even think about recording,

Keith Richard's won't even play brand new electric guitars, he gives them to friends and then collects them a year later,

One more thing, an acoustic is what it is, by that I mean don't play guitar that sounds one way and start thinking that you want "that" sound. Trying to make an acoustic sound like anything other than what it is is a fool errand.

You should be able to pick it up off the rack strum one chord and hear what you want,

That's why a lot of engineers have their own acoustic that they insist artists use, for myself, I found a strange gawdy looking Epiphone in a Pawn shop earlier this year, when I strummed it, the first chord told me everything, I just said "Ring it up, I'll take it"

So, find a GUITAR that sounds the way you want....and then kick it's ass
Haha, good points Dee,
Having bought the new Martin D-28, I can see what you and Keith mean about new guitars. I think if you have a collection and have some scratch to get a new guitar it's fine, because you can set it up the way you want from the start and it's kind of cool to hear/feel it break in with your style. But yeah, it's been over a year and it's still opening up, so requires some patience. Much easier to buy a guitar that has had years of wood aging and breaking in. But like I mentioned, buyer has to consider the cost of repairs and have a good luthier, which we do not have where I live. I'm starting to learn to do it myself

As for strings - I agree to some extent. I've mentioned on here that finding the D'addario EXPs has been a godsend to me, because I find that they are not as bright as uncoated strings when first strung, and just feel/play and sound better, for my tastes. But yes, as you say they are better having been strung for a few days, or weeks even, for my tastes and purposes (and I think it's safe to say for the purposes of advice on this subject).

As for the guitar - you're right, never going to make A sound like B, but I would just add that strings, picks and technique can go a long way in this regard, having experimented with quite a bit of those things as of this thread. But in the end, of course, the guitar has a particular tone/build and you can't really change that, so I do agree. I just got my Gibson B-25 yesterday and had a chance to play it last night. It confirms what the folks on here have said about the small body guitar - definitely closer to the sound of those early Dylan records. It's not my dream guitar, and it's probably closer to a blues box than a folk strummer - lacks a bit on the low end, but I can tell we're going to be good friends and at least for now it will serve as my tool for those kinds of songs. I got a good deal on it, because someone already beat the crap out of it over the years, so I think it's time she got a little TLC, but I know what you mean - gotta get a little rough sometimes. Just remember to do like Otis said, and try a little tenderness
Old 14th June 2018
  #342
Gear Addict
 

Quote:
Originally Posted by John Eppstein View Post
You are aware that the subject is early '60s folk guitar tone, not dumbass hard rock, right?

(Not saying that all hard rock is dumbass, but Kiss are not exactly known for their intelligence - or their musicianship..... or their subtlety......)

And I don't think that Kiss even gets anyone laid anymore.....
Old 14th June 2018
  #343
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Rockabilly69's Avatar
Quote:
Originally Posted by StevieD009 View Post
I just got my Gibson B-25 yesterday and had a chance to play it last night. It confirms what the folks on here have said about the small body guitar - definitely closer to the sound of those early Dylan records. It's not my dream guitar, and it's probably closer to a blues box than a folk strummer - lacks a bit on the low end, but I can tell we're going to be good friends and at least for now it will serve as my tool for those kinds of songs.
I agree the B25 doesn't have the low-end when you sit and strum it, but you'll be surprised what gets to the microphones during recording. It's like why little Fender Champ amps record so well, or why many drummers in the studio will use a smaller bass drum. Sometimes the frequencies of these smaller amps and instruments line up better with the low frequency response of the microphones.
One of my favorite guitars to record with was a small Larrivee mahogany backed spruce topped parlour guitar tuned down a half step. I foolishly sold that guitar chasing some other tone Good luck with your new guitar!
Old 15th June 2018
  #344
Quote:
Originally Posted by John Eppstein View Post
You are aware that the subject is early '60s folk guitar tone, not dumbass hard rock, right?

(Not saying that all hard rock is dumbass, but Kiss are not exactly known for their intelligence - or their musicianship..... or their subtlety......)

And I don't think that Kiss even gets anyone laid anymore.....
I suspect you may be a bit generous with regard to that band's putative powers of aphrodesia.

(It's hard for me to imagine. Or maybe just hard for me to imagine wanting to go to bed with anyone who could be so seduced.)

But, maybe... someone, somewhere might be... under the right conditions -- or maybe the wrong ones: a van with carpeting up the panels, an 8 track that keeps jumping in the middle of songs, and a gallon of Red Mountain Hearty Burgundy. Do they still make Red Mountain?
Old 15th June 2018
  #345
These will get you the tone. For a small fortune. But worth it. Sound like old Gibson, Martin, Larson etc.
No expense spared, but you get what you pay for.

Bourgeois Guitars | Fine Handmade Acoustic Guitars by Dana Bourgeois – Lewiston, ME

I'm with the guy who said small amps record well.
Little Supros, Champs, hell, I recorded a kid with a Blues Jr. the other week. Sounded great.

Gotta love John Eppstein!
Always good posts!

Dude...if I was near ya I'd buy ya a beer...
Old 19th June 2018
  #346
Gear Addict
 

Quote:
Originally Posted by NEWTON IN ORBIT View Post
These will get you the tone. For a small fortune. But worth it. Sound like old Gibson, Martin, Larson etc.
No expense spared, but you get what you pay for.

Bourgeois Guitars | Fine Handmade Acoustic Guitars by Dana Bourgeois – Lewiston, ME

I'm with the guy who said small amps record well.
Little Supros, Champs, hell, I recorded a kid with a Blues Jr. the other week. Sounded great.

Gotta love John Eppstein!
Always good posts!

Dude...if I was near ya I'd buy ya a beer...
Thanks Newton - Yeah, I have come across these in my searches, look like nice guitars and good to have another opinion on them. I'll def keep them in mind if I happen to come across a large stash of cash
Old 19th June 2018
  #347
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Owen L T's Avatar
Quote:
Originally Posted by KevWind View Post
William Ackerman (founder of the Label)

This is classic Ackerman/Windham Hill sound.
The *emotive* flute/piccolo on this is giving me the overwhelming desire to punch something/someone - which is probably not what they intended!
Old 19th June 2018
  #348
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KevWind's Avatar
Quote:
Originally Posted by Owen L T View Post
The *emotive* flute/piccolo on this is giving me the overwhelming desire to punch something/someone - which is probably not what they intended!
Probably not, but then again I doubt is was intended for people who possibly need to work on anger management issues, or blasted at 100db toward the headbangers in the mosh pit
Old 20th June 2018
  #349
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Owen L T's Avatar
Quote:
Originally Posted by KevWind View Post
Probably not, but then again I doubt is was intended for people who possibly need to work on anger management issues, or blasted at 100db toward the headbangers in the mosh pit
I should perhaps have explained: I have never ACTUALLY punched anyone or anything in my life; but after 30 seconds of that sub Nelson Rangell piccolo playing I was feeling decidedly unrelaxed - and I do, actually, play flute!
Old 20th June 2018
  #350
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KevWind's Avatar
Quote:
Originally Posted by Owen L T View Post
I should perhaps have explained: I have never ACTUALLY punched anyone or anything in my life; but after 30 seconds of that sub Nelson Rangell piccolo playing I was feeling decidedly unrelaxed - and I do, actually, play flute!
No need to explain it's all good
I was simply and humorously continuing and running with, your exuberant if exaggerated description (thus the goof icon )

Your personal reaction is whatever it is, honestly I could care less one way or the other. Nor do I know or care what "sub Nelson Rangell playing" is, in relation to a piece of 30+ year old music

You quoted my reply to the question asking "what Windham Hill was" and I offered an example, sans any personal investment in the accomplishment of it's real or imagined production intentions or goals .
Old 20th June 2018
  #351
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Owen L T's Avatar
Quote:
Originally Posted by KevWind View Post
No need to explain it's all good
I was simply and humorously continuing and running with, your exuberant if exaggerated description (thus the goof icon )
Cool. Was worried that my humour had come across as ... actual intent (to punch)!
Old 20th June 2018
  #352
Quote:
Originally Posted by theblue1 View Post
I suspect you may be a bit generous with regard to that band's putative powers of aphrodesia.

(It's hard for me to imagine. Or maybe just hard for me to imagine wanting to go to bed with anyone who could be so seduced.)

But, maybe... someone, somewhere might be... under the right conditions -- or maybe the wrong ones: a van with carpeting up the panels, an 8 track that keeps jumping in the middle of songs, and a gallon of Red Mountain Hearty Burgundy. Do they still make Red Mountain?
I don't know. I was thinking more in terms of a case of Bud and a bag of blow that's really mostly baby laxative with a little procaine for the numb. And a few joints, maybe a Quaalude or two.

Never was a Kiss fan, myself.
Old 21st June 2018
  #353
Quote:
Originally Posted by John Eppstein View Post
I don't know. I was thinking more in terms of a case of Bud and a bag of blow that's really mostly baby laxative with a little procaine for the numb. And a few joints, maybe a Quaalude or two.

Never was a Kiss fan, myself.


I think you're on the right track with that KISS-babe seduction kit.
Old 23rd June 2018
  #354
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PatrickFaith's Avatar
 

Here's my chain that pretty much does what your saying: d28 1931 -> martin silk&steel strings -> thumb (just nail and skin, no thumb pick) -> ku4 ribbon (ku4 gets the "deeper" sound compared to a modern ribbon, also I don't like using u47 unless the position is fairly high) -> op6 preamp (sometimes bypassed) -> Retro instruments power strip (playing with the pultec a bit more then anything).

I think with a real clean setup, like a eric clapton martin going into a modern mic like m149, I could get fairly close to this sound with the martin silk&steel strings and thumb playing, then barely eq it ITB. With a modern setup I need to play to the mic with a real soft touch (i.e. real soft touch with the thumb/fingers which doesn't sound good in the recording area but sounds real nice when mixed ITB).
Old 23rd June 2018
  #355
Quote:
Originally Posted by PatrickFaith View Post
Here's my chain that pretty much does what your saying: d28 1931 -> martin silk&steel strings -> thumb (just nail and skin, no thumb pick) -> ku4 ribbon (ku4 gets the "deeper" sound compared to a modern ribbon, also I don't like using u47 unless the position is fairly high) -> op6 preamp (sometimes bypassed) -> Retro instruments power strip (playing with the pultec a bit more then anything).

I think with a real clean setup, like a eric clapton martin going into a modern mic like m149, I could get fairly close to this sound with the martin silk&steel strings and thumb playing, then barely eq it ITB. With a modern setup I need to play to the mic with a real soft touch (i.e. real soft touch with the thumb/fingers which doesn't sound good in the recording area but sounds real nice when mixed ITB).
KU4 is a very nice mic, albeit somewhat pricey. Wish I had one!
Old 25th June 2018
  #356
I was thinking about mics and this thread and there's something that appears to have totally escaped a certain contingent of people, which is this:

The SM57 did not exist in the early '60s. Wikipedia says it was introduced in 1965, which I'm not totally certain is accurate. The Unidyne III (545) was introduced a few years before.

The important point, however, is that neither version was ever used in the studio during that period. These were PA mics seen on podiums for speeches, courtrooms, and for live vocals for combo bands and in clubs. They were only rarely seen on TV variety shows or other broadcast applications, as these favored the Electrovoice mics that had flatter response. They didn't start seeing much use in studios until the very late '60s to early '70s.

Another point is that the SM57 as originally introduced was not the same mic as sold today. Initially it was a 545 with a nonreflective paint job, which was a significantly different cartridge from the current one. Significant changes were made in the '80s, including a change in voice coil material from copper to aluminum, although the 545 retained the copper coil. Copper and aluminum coils have different resonance points, and many people believe that copper sounds better. There were also certain mechanical changes, some to make the cartridge more rugged, others to simplify it to be easier to manufacture.
Old 9th July 2018
  #357
Gear Addict
 

Quote:
Originally Posted by PatrickFaith View Post
Here's my chain that pretty much does what your saying: d28 1931 -> martin silk&steel strings -> thumb (just nail and skin, no thumb pick) -> ku4 ribbon (ku4 gets the "deeper" sound compared to a modern ribbon, also I don't like using u47 unless the position is fairly high) -> op6 preamp (sometimes bypassed) -> Retro instruments power strip (playing with the pultec a bit more then anything).

I think with a real clean setup, like a eric clapton martin going into a modern mic like m149, I could get fairly close to this sound with the martin silk&steel strings and thumb playing, then barely eq it ITB. With a modern setup I need to play to the mic with a real soft touch (i.e. real soft touch with the thumb/fingers which doesn't sound good in the recording area but sounds real nice when mixed ITB).
Thanks Patrick,
Man, that's like $10,000 in that chain that I don't have laying around lol But I see what you mean, and I'm sure that would get me right there.

I've never much liked silk and steel strings - I like the idea of them, but every time I put them on any guitar I just immediately hate them. I dunno, maybe I haven't found the right combo.

On a more budget approach, I picked up an old beat up Gibson B-25 and a questionable J-50 both for relatively cheap, and I have fallen back in love with the Gibson tone - I'm finding it to be miles closer to what I was searching for, and between the two of them I can go from Dylanesque folksy to Blind Willie Johnson bluesy easily - basically the entire spectrum of what I need. The B-25 excels at fingerpicking for my tastes, just has that "woody" grit to it, you can hear the fingernails scraping the string in a good way. Anyway, I've been having some success with those - the folks who recommended small body guitars were right, and I see a vintage Martin small body in my future. I do have a KSM 313 ribbon, but wasn't impressed when I put it on the acoustic. I dunno, maybe I'll have a ku4 one day - for now the Shure SM81 does the trick, but I do want to upgrade the acoustic mic eventually. Time to start saving again.
Old 14th July 2018
  #358
Lives for gear
 

Ooof! Can't believe I read through all that! Lots of interesting stuff posted. Someone mentioned Nick Drake - here's a guy that basically nails it with modern gear:



Not much I can add to this already long thread, but it seems like EVERYTHING is important to some degree. In my 30+ years as a professional recording engineer I've found that the things closest to the source are the most important (talent, instrument, environment, mic) and the stuff later in the chain somewhat less important (tape formulation, mic pre, converter).

I mostly agree with peoples' sentiments that old recording gear was anything but lo-fi. However there were noise issues we were constantly battling, which gave us techniques to overcome the noise which impacted the "tone", like boosting treble before tape (which saturated in a specific way) then cutting treble after tape. There was also a long "process" from basic recording to final delivery, which involved many stages of transfers (and degradation) that affected the sound quality. That doesn't really exist in the same way anymore. We also don't have many great recording rooms like they did back then...

I would offer that if you get the tone correct at the source, then follow the exact same signal path & process as your vintage heroes, you should come out in roughly the same place. If you start removing or substituting things, your mileage may vary.

Last edited by juniorhifikit; 15th July 2018 at 03:34 AM..
Old 29th July 2018
  #359
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Quote:
Originally Posted by juniorhifikit View Post
I would offer that if you get the tone correct at the source, then follow the exact same signal path & process as your vintage heroes, you should come out in roughly the same place. If you start removing or substituting things, your mileage may vary.
Good summary Junior, thanks! And thanks for reading lol. Yeah, I agree with you, and it was never really about getting the "vintage sound" as far as recording, so much as it was just getting that guitar tone. I don't necessarily want to sound exactly like those recordings, although I don't really like super polished recordings either, so I guess it wouldn't hurt to have some of the gear in the chain used on those recordings. At the end of the day, I realized that strings, mic position, all the DIY tricks folks recommended here etc. could only go so far and, indeed, I needed to get the right guitar for the tone. It was a great thing to realize, because I've fallen back in love with vintage Gibsons, which give me that tone I'm searching for (have a B-25 for the small body tone and a J-50 for a fuller dread sound). They also have really small necks, which I prefer given my really small hands My next guitar on my list is the Guild M-20, popularized by Nick Drake. Funny you posted that video, as I was watching it recently - that dude has dedicated himself to understanding Drake's tonal nuances, and it does go to show that the talent/technique of the player can go a long way.

In the end, I really just needed a small body guitar for the folk strumming numbers I do - that did the trick. I imagine a Gibson LG-1/2/3, Martin 0/00/000, or the Guild I mentioned would all do the trick for those searching for that sound. Many thanks to all who contributed!
Old 29th July 2018
  #360
Quote:
Originally Posted by juniorhifikit View Post
Ooof! Can't believe I read through all that! Lots of interesting stuff posted. Someone mentioned Nick Drake - here's a guy that basically nails it with modern gear:



Not much I can add to this already long thread, but it seems like EVERYTHING is important to some degree. In my 30+ years as a professional recording engineer I've found that the things closest to the source are the most important (talent, instrument, environment, mic) and the stuff later in the chain somewhat less important (tape formulation, mic pre, converter).

I mostly agree with peoples' sentiments that old recording gear was anything but lo-fi. However there were noise issues we were constantly battling, which gave us techniques to overcome the noise which impacted the "tone", like boosting treble before tape (which saturated in a specific way) then cutting treble after tape. There was also a long "process" from basic recording to final delivery, which involved many stages of transfers (and degradation) that affected the sound quality. That doesn't really exist in the same way anymore. We also don't have many great recording rooms like they did back then...

I would offer that if you get the tone correct at the source, then follow the exact same signal path & process as your vintage heroes, you should come out in roughly the same place. If you start removing or substituting things, your mileage may vary.
The young fella in the vid does a pretty good of capturing the tone, for sure. I watched it, nodded thoughtfully, and turned around and saw my Chinese (Silver Creek) 00-14 knockoff with now pretty dead strings (I live near the ocean AND I don't tend to change strings often enough) and, with the not-quite-Nick sounds of the vid echoing in my head, I had to admit, dang, my guitar (if not my playing) really did have more than a bit of that classic, dark sound. I just had to hear it in 'the right light' (to mangle a metaphor).

That barrier down, now all I gotta do is work on the playing... and then the singing... and... and... at least I can kinda get the guitar sound.
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