budget (usb) mic for classical guitar recording needed

<<<sorry koz not yet a 3 min length full piece>>>

But there is no longer any technical reason not to. The last couple of clips have been Entertainment Corporation, Commercial CD ready.

Have you tried to Actually Edit yet? You know, crank your way through a long piece, fluffs and all, and then go back in post production and hide all the fluffs? I know people that, when they know they’re going to “tape,” replay over their mistakes and make a mental note where they are. That is, make a mistake, pause, and start playing again at the last even phrase – rewind your head. It’s a lot easier to keep your rhythm going if you do that than to record the whole thing over again six minutes later.


Correct me, but this is the longest thread in the forum?


Well… I could record something longer and also do some editing… but I think that could be a bit off-topic… don’t want to run this thread too long… :stuck_out_tongue:

Oops :slight_smile:

I really need to try to sum up of all these and update the first post… (or make a new thread and link it)


I’m not complaining and I don’t think any of the other elves are, either. It’s not often we get to take somebody from noisy, kitchen-table recording up to commercial grade captures. It helps that you’re a terrific player.


Well that ART USB dual Pre thingy was certainly worth the money - and those years of practice have clearly paid off. :slight_smile:

And yes Koz, I too was thinking this was getting to be “Guinness Book Of Records” time for the longest thread in the forum … good thread though.


Thank you Koz and WC for your kind comments. I don’t believe I’m that good, but I guess a good mic/preamp, decent guitar and Audacity are all that it takes to fool your ears :smiley:

Anyway I’ve finished writing my findings/conclusions and posted it in a new thread (and will now update the first post on this thread to point there too).


You’re preaching to the choir. Fooling people has bought me a lot of beer and biscuits.


There’s definitely more “ambiance” there - very nice indeed. For the tonal quality, this last recording is my favourite - a real pleasure to listen to.
I knew that the SC1100 was a good microphone from personal experience, but only knew the ART by reputation. There is a tiny bit of noise, but it is low enough to only be noticeable in the “silent” bits which can easily be trimmed or gated. I’d now, having heard it, have no reservations about recommending the device, as I’m sure you would.

Certainly not complaining - there’s been a lot of good stuff in this thread and listening to the music samples has been a pleasure, particularly as the recording has got better and better, which was the object of the exercise.

One good way to record is to start by playing through the entire piece start to finish in one take - if you make a little “fluff” don’t worry about it, just keep going to the end. Once that first take is done, have a cup of tea and do a couple more full takes, then leave it for at least a couple of hours, or preferably 'till the next day. Then listen to each of the “takes” and pick your favourite - don’t be too concerned about the odd mistake, pick the one that is “musically” best.
Then comes the editing - go through the chosen track and re-record the bits that you’re not happy with. You can give yourself a “lead in” by duplicating the bit immediately before the bit to be replaced, mute the original track, then start recording and play along with the duplicate section - when the duplicate section runs out, keep playing - this is the bit that you will “drop in” to the original track.

I’ll go and have a look at that new thread now - look forward to hearing more recordings :slight_smile:




Thanks for the tips.

I finally put the equipment testing on the side today and started focusing on recording my playing. So I should soon be able to post something longer :slight_smile:

I still have a lot to learn about audacity and all its features and capabilities, but I’m sure with time everything will unfold itself… :slight_smile:

I’ve installed calf-plugins (from debian reps) and I have it available on audacity… Now I just need to figure out what all those parameters are and what they mean/do :stuck_out_tongue:

Ok first I duplicated the track, then added a bit of delay to one of the tracks… then I added reverb to one of them… and last I partially panned the tracks in opposite directions… am I doing this right? :slight_smile:

You can’t read experience from books, but any tutorial on mono to (fake) stereo, summing all these techniques, could be helpful :wink:

Calf Reverb is a stereo effect, so if you apply it to a “2 channel mono” track, the result will be stereo.

Starting with a single mono recording:

  1. Make a duplicate of the track (Ctrl+D)
  2. Make a second duplicate of the original track. (you now have 3 tracks - if you have 4 tracks it’s because you duplicated tracks 1 and 2 and not just track 1)
  3. Click on the “Name” of track 2 and from the drop down menu select “Make Stereo Track”.

You can now apply stereo effects such as Calf Reverb to the “stereo” track.

Thanks Steve for the enlightening :slight_smile:


There is one more component to this skillset. Knowing when to quit.

“If we duplicate the track and then split it into L and R, we can apply one echo package to one side, and then invert the polarity with XML delay…”


Oh, yes. Before we leave this completely. Can you post that picture of proper microphone placement?


yes, here they are:

It’s pretty impressive that you are getting such low noise from what is still a relatively “budget” pre-amp - that’s quite a distance between the mic and the guitar, but it shows very well how it is able to pick up the whole of the guitar sound and some room ambiance.

I presume that you still using it on the cardioid setting? If so, it may be worth trying it on omni as that will allow you to pick up the same amount of room ambiance at a much closer distance to the guitar. Also, the “proximity” effect should be much less on “omni”.

(Proximity effect: the tendency of microphones to accentuate the bass frequencies when used close to a sound source. )

Excellent. Yes, that’s what I want to do with the hallway here at work. And if you move the mic too much either direction along the instrument, it starts sounding wimpy or boomy?


Yes, still using cardioid. I tried omni once briefly but I didn’t like much the sound from it, so I went back to cardioid. I think I didn’t change the position of the mic though… so I shall try again in a closer position…

And at the top of the stairs :wink:
Have you thought about putting a safety strap round the mic/mic stand - perhaps it’s the photographs, but it looks pretty close to the edge :confused: