I can’t find the original posting. We decided the most melodious tone for miking a guitar was x number of feet/meters away from some specific place on the instrument. At least for that instrument in that room with that microphone.
I do have some new performances. The moons and stars lined up and we got the room, the artist, the guitar, the sound equipment, and me all at the same time. I didn’t record over them this time, either…
The “classic” recording position is about 40 cm above the 12th fret (which is where the neck meets the guitar body).
The best position for this player with this guitar in this room playing in this style with this microphone … may well be different.
Cool. I wasn’t that far off, then. I was further away.
I did have to move the recording away from the windows in the room for a very odd reason. We’re not all that far from LAX, but we’re cross-wise to the runways. Unless you know the airport is there, you’d never know by listening.
Until yesterday. I was setting the microphone and noticed an unusual roaring noise. LA is in the middle of a weather switchover and the wind stopped. Every plane on four runways and the south taxiways suddenly could be heard very clearly in the campus. Pilots on staff claimed they could tell from the high quality of the sound which planes were taking off.
“L1011. Maybe stretch, maybe not. They have that whistle…”
Fortunately, the electronic system is hot and Tim plays loudly.
So here’s Tim with no rehearsal or prep playing a borrowed acoustic guitar for 40 minutes. His natural instrument is electric where all those fret noises vanish.
These are abbreviated clips some with one or two phrase search errors removed. Otherwise they’re completely untouched. No filters or contouring at all.
D is an inside joke. It took him a split second to catch on. When you roll a movie camera, the assistant camera stands in front with the clap board (bang!) to give the editors a picture and sound sync point.
We’re talking about multiple players next time and doing it electric. Of course, then we need to find out what the rest of the building is doing. It will involve a much more serious sound field.
Very nice Koz, though you committed the Cardinal Sin of chopping off the decay after the last note
The “produced” version (timWed_CTestEq.flac) is extremely wide, especially if you listen through headphones. Of course I can narrow the stereo spread a bit with my Channel Mixer plug-in. Hmm - I don’t have any presets for narrow stereo, (though it’s not a big problem to use custom settings) I’ll have to add a couple more presets.
You can assume I spent forty seconds total tuning the tools before going to bed. Chris was default settings, the equalization curve I already had, I’ve never used GVerb in my life and tuned what I considered most of the effect out. Its default is terrible.
The delay was problematic. The delay values appeared to be “sticky” and liked settling into certain inappropriate values. This struggle took most of the forty seconds. I finally forced a delay value that didn’t destroy the performance and called it a night.
What I wanted to do seems impossible. Before and after on one melody line. On this musical note, the correction pops in. Oh, yes I can certainly apply Chris to a restricted area of the song and the equalizer, etc. What I can’t do is split the track and delay only Right from the edit point. I couldn’t do it, so I delayed Right for the whole performance and surgically ripped out the corrected demonstration segment, hence the chop points.
Yes, reeeeeealy bad. I wish I knew how to change the defaults.
There’s a page on the wiki about GVerb - the “Duplicate and mix together” method is much the better approach with this effect. http://wiki.audacityteam.org/wiki/GVerb
Better still, use Anwida Soft DX Reverb Light (available on the same page).
To make a 20 ms delay to the first half of the right channel only:
Click on the middle of the track to place the cursor.
Edit > Split (Ctrl+I)
Change to Time Shift tool (F5)
Drag the right portion to the right by 20 ms (you can move it further if you wish, you just need to make enough space for step 6).
Track name drop-down menu > Split Stereo Track
Drag the right channel of the first half to the right by 20 ms.
Track name drop-down menu of upper track > Make Stereo Track.
(optional) mix and render.
No of course not - neither have I
I’ve never used one - always relied on my ears for that. Test on speakers, headphones and mono.
Quick way to test what it will sound like in mono without having to wait while it mixes down to mono - Adjust the track volume slider down by 6 dB to avoid clipping, then use “Split Stereo to Mono” from the track drop-down menu and play it - both tracks will play equally left and right (mono).
<<<Quick way to test what it will sound like in mono without having to wait while it mixes down to mono - Adjust the track volume slider down by 6 dB to avoid clipping, then use “Split Stereo to Mono” from the track drop-down menu and play it - both tracks will play equally left and right (mono).>>>
Or touch the mono button on my external sound system.