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Your favorite Acoustic Guitar Recording Setup?
Old 20th January 2020
  #511
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Quote:
Originally Posted by James Lehmann View Post
Got it!



Recording notes:
Guitar: Blueridge BR160
Chain: Gefell M296, DAV BG2 MkIV Preamp, Metric Halo 2882 @ 24/96k
Treatment: Clean take in; post was a little EQ cut at 170Hz, some light compression and levelling in Ozone 8, otherwise dry

We can quibble all day about placement – and I may not have got that spot-on here – but the natural-sounding depth and detail that the M296 brings to the table is, well... judge for yourself. For sure, it's the most articulate and beautiful mic in my locker!
Sounds really good for just one mic!
Great guitar player too.
Old 20th January 2020
  #512
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robert82's Avatar
Quote:
Originally Posted by James Lehmann View Post
Got it!
We can quibble all day about placement – and I may not have got that spot-on here – but the natural-sounding depth and detail that the M296 brings to the table is, well... judge for yourself. For sure, it's the most articulate and beautiful mic in my locker!
I played a bit with this track, added reverb and finished it with a widener in Ozone . . . got it to sound like it was a stereo recording. Your track is so solid - I'm more inclined to credit your room than your mic. There is no "baked in" comb filtering or off resonances like in many small room recordings. And this makes me want to reconsider using a single mic for acoustic.
Old 20th January 2020
  #513
Quote:
Originally Posted by Nick Tammer View Post
Sounds really good!! Could you tell us a bit more about the recording chain you used?
Thanks. Because I record myself and it's so hard to monitor while recording, I do it in two passes. I first record everything direct to an Antelope Orion just trying to get as clean of a recording as I can. Then I do a listening pre-mix through my stereo analog chain - Silver Bullet into hardware EQ, compressor and Zulu. Once I like the overall sound of it, I'll then print each track/stem individually through that chain, making some small adjustments for each track/stem, often tweaking the compressor and low/high shelves only.

If I were recording another artist and had a control room and more gear, I'd probably record through a similar chain all in one pass.

I'll then do a final mix, sometimes ITB, but I'll usually go through the stereo analog chain one more time for a final touch.

What I find is I struggle to get a mix I'm happy with fully ITB using the direct to Orion tracks. Once I've done that first pass of the tracks/stems through the analog chain, I can usually get an ITB mix I'm pretty happy with. But second pass of the full mix through the analog chain just polishes and gels the final mix so nicely.

..ant
Old 20th January 2020
  #514
I'm trying to broaden my horizons and experiment with different techniques, but lately this is my go-to acoustic guitar chain:

A pair of Telefunken ELA M 260s (cardioid capsules) in XY configuration -> Neve 1073DPX -> Manley ELOP+ -> UA Apollo x16

Here's a track I recorded using that setup. Each of the cello overdubs was recorded with the Telefunkens into the Neve as well.

Old 20th January 2020
  #515
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Piedpiper's Avatar
I usually use a Lucas CS-4 in pure cardioid into a Manley Dual Mono pre into an Aphex Expressor with the extra special mod from Jim Williams of Audio Upgrades into a Black Lion Audio Signature modded Digi 002R. I've done some albums where the singer/guitarist prefers to sing and play simultaneously with just that on both vocal and guitar and it sounds gloriously rich, transparent, coherent, and intimate. Often no EQ required. Just Exponential Audio Nimbus small hall wide and we're in heaven.
Old 20th January 2020
  #516
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a solo presentation of an Andre Segovia type of performance or acoustic guitar lead segment or a pocket rhythm role will all require tailored protocols. As a producer and a guitar player i believe it is important to exhibit the wisdom to know and understand the difference: it is the essential element involved in developing a coherent project.
I do a lot of solo vocal/guitar gigs and many years ago developed a single card pattern tube mic protocol to simultaneously capture both in my live gigs and about half of my recording performances. While it works for me I am well aware it will not be best for many performers.
The players skill, instrument quality and specific role it is to fill in a given recording will go a long way informing the most suitable mic and it's placement. It is a foolish notion to assume there is a universal protocol that will fit all needs.
Hugh
Old 20th January 2020
  #517
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Quote:
Originally Posted by antstudio View Post
Thanks. Because I record myself and it's so hard to monitor while recording, I do it in two passes. I first record everything direct to an Antelope Orion just trying to get as clean of a recording as I can. Then I do a listening pre-mix through my stereo analog chain - Silver Bullet into hardware EQ, compressor and Zulu. Once I like the overall sound of it, I'll then print each track/stem individually through that chain, making some small adjustments for each track/stem, often tweaking the compressor and low/high shelves only.

If I were recording another artist and had a control room and more gear, I'd probably record through a similar chain all in one pass.

I'll then do a final mix, sometimes ITB, but I'll usually go through the stereo analog chain one more time for a final touch.

What I find is I struggle to get a mix I'm happy with fully ITB using the direct to Orion tracks. Once I've done that first pass of the tracks/stems through the analog chain, I can usually get an ITB mix I'm pretty happy with. But second pass of the full mix through the analog chain just polishes and gels the final mix so nicely.

..ant
Thanks a lot! Interesting..I'll not familiar with Silver Bullet and Zulu (I'm aware they're respectively mic pre and tape saturation simulations) but it seems to work well!
Old 20th January 2020
  #518
Gear Guru
 
monkeyxx's Avatar
Quote:
Originally Posted by hughshouse View Post
a solo presentation of an Andre Segovia type of performance or acoustic guitar lead segment or a pocket rhythm role will all require tailored protocols. As a producer and a guitar player i believe it is important to exhibit the wisdom to know and understand the difference: it is the essential element involved in developing a coherent project.
I do a lot of solo vocal/guitar gigs and many years ago developed a single card pattern tube mic protocol to simultaneously capture both in my live gigs and about half of my recording performances. While it works for me I am well aware it will not be best for many performers.
The players skill, instrument quality and specific role it is to fill in a given recording will go a long way informing the most suitable mic and it's placement. It is a foolish notion to assume there is a universal protocol that will fit all needs.
Hugh
Great post! It's also really funny to call mic position a protocol, reminds me of those old lab coat guys pre-Beatles.
Old 20th January 2020
  #519
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Piedpiper's Avatar
Quote:
Originally Posted by monkeyxx View Post
Great post! It's also really funny to call mic position a protocol, reminds me of those old lab coat guys pre-Beatles.
It's also goes without saying, for anyone who has any real experience.
Old 21st January 2020
  #520
Gear Guru
 
monkeyxx's Avatar
Some of us like to be reminded of good practices.

Or are you picking apart my language? In that case, screw off.
Old 21st January 2020
  #521
Quote:
Originally Posted by antstudio View Post
Thank you! I'm really happy with how that one came out.

..ant
I should've asked- what mics/gear are you using on Painted Blue?

Thanks!
Old 21st January 2020
  #522
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Piedpiper's Avatar
Quote:
Originally Posted by monkeyxx View Post
Some of us like to be reminded of good practices.

Or are you picking apart my language? In that case, screw off.
Not in the slightest. You're fine. Was actually more in response to Hugh's post, which I found borderline condescending. No biggie.
Old 21st January 2020
  #523
Quote:
Originally Posted by MikeInOttawa View Post
I should've asked- what mics/gear are you using on Painted Blue?

Thanks!
The mid/side on guitar is a Miktek C5 and AKG C414 B-ULS in figure 8. The vocal is another B-ULS in figure 8. My analog chain is covered a few posts back.

One really important thing to do on this three mic setup is to make sure the recordings are in phase. The mid/side takes care of itself but the vocal mic track has to be aligned. I make a few vocal clicking sounds at the start of each recording and use that to line up the vocal mic with the mid/side. Makes a big difference.

..ant
Old 21st January 2020
  #524
Gear Guru
 
monkeyxx's Avatar
Quote:
Originally Posted by Piedpiper View Post
Not in the slightest. You're fine. Was actually more in response to Hugh's post, which I found borderline condescending. No biggie.
Ok sorry. The best version I've heard of that phenomenon is that we "producer" people have a certain amount of "pride" in our knowledge and what we do.

It doesn't really apply to regular life at all but in the realm of our specialized knowledge there's passion and pride in the discussions of the craft.

At least that's how I take it when people seem serious or opinionated. I didn't read hugh's post as condescending.
Old 21st January 2020
  #525
Gear Guru
 
Brent Hahn's Avatar
 

Quote:
Originally Posted by Piedpiper View Post
Was actually more in response to Hugh's post, which I found borderline condescending.
Condescending? Sesquipedalian, maybe. He tends to do that.
Old 21st January 2020
  #526
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robert82's Avatar
Quote:
Originally Posted by Brent Hahn View Post
Condescending? Sesquipedalian, maybe. He tends to do that.
Had to look it up. Definitely a word that sounds like its definition. I believe it's called "phonaesthemic".
Old 21st January 2020
  #527
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Piedpiper's Avatar
nicely said. I get touchy sometimes.

Context counts for so much, and we all bring our own.
Old 4 weeks ago
  #528
Quote:
Originally Posted by monkeyxx View Post
Great post! It's also really funny to call mic position a protocol, reminds me of those old lab coat guys pre-Beatles.
I still bust out a lab coat here and there for S’s and G’s
Old 4 weeks ago
  #529
Quote:
Originally Posted by homespunaudio View Post
I'm trying to broaden my horizons and experiment with different techniques, but lately this is my go-to acoustic guitar chain:

A pair of Telefunken ELA M 260s (cardioid capsules) in XY configuration -> Neve 1073DPX -> Manley ELOP+ -> UA Apollo x16

Here's a track I recorded using that setup. Each of the cello overdubs was recorded with the Telefunkens into the Neve as well.

That's a really fine recording. The guitar imaging and tone is perfect and I like the overall balance on the whole thing.

..ant
Old 4 weeks ago
  #530
Lives for gear
 
James Lehmann's Avatar
 

Quote:
Originally Posted by robert82 View Post
I played a bit with this track, added reverb and finished it with a widener in Ozone . . . got it to sound like it was a stereo recording. Your track is so solid - I'm more inclined to credit your room than your mic. There is no "baked in" comb filtering or off resonances like in many small room recordings. And this makes me want to reconsider using a single mic for acoustic.
Thanks man!

I'll be honest and say that the room sound was a lot better than I dared hope for, considering that this was a rather rushed, "point'n'shoot" living-room session.

The room is about 6m x 4m, low-ceilings with a mix of carpeting and bare wood floor, the guitarist sat on the couch and I placed four RealTraps gobos in a spaced semi-circle behind the mics. Turned out to be one of those 'happy accident' recordings that I will definitely revisit; and take some pics next time.

And once again, it was this very thread that gave me the courage to go with a single omni on acoustic, so Gearslutz ftw!
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