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