Classical Guitar Improvisation
- Thread starter XLR
- Start date
robin watson
New member
balance
I liked this, but for the balance - gtr right dominates just slightly (and has more ambience), but just enough to lessen the complimentary effect. Very nice tone.
I liked this, but for the balance - gtr right dominates just slightly (and has more ambience), but just enough to lessen the complimentary effect. Very nice tone.
listened at at your web page. thinking i heard you play live a couple years ago. 2001 or 2002, recital in small church near wilton ct, snowing out, place packed and they went nuts, first half bach second half flamenco. will never forgt the encore was over the rainbow. unusual combination made me remember it. that you?
loved the web page music. copied it all on a cd but dont sue me
j
Rokket
Trailing Behind Again
Very nice work again, Tim! You know if you don't bring your guitar to our luncheon, I'll be pissed at you!Timothy Lawler said:
Mic'd with a Schoeps MK41 close up (at about a foot). Originally recorded each gtr with a pair of 41s but I remixed it yesterday, thinning it down to one mic trying for a less thick and more natural sound. Prefer mic'ing further away for a more open sound but this was done a small, acoustically evil room. Heh-heh.Let me know what you think.
Tim
Thanks guys for listening and so many comments.
Toonsmith, yeah, conservatory training but hopefully not enough to hurt my playing
Lbanks, "defined" is one of the things I was working hard to go for in the mixing so thanks. With nylon string its so easy to have everything sound like mush.
Robin, thanks for the critical listening comments and I think those are the most helpful. I'll listen more for the L/R balance you described. Hadn't noticed it before - but certainly had notice an imbalance in the overall sonority casued by the close mic'ing. Re ambiance, the reverb added was applied to the whole mix w/SIR, but if the L/R levels were out of kilt, so would their reverb levels be. Thanks for listening with that kind of detail.
jgld, small world. Sounds like you were at the St. Stephen's concert series in Ridgefield, CT, just north of Wilton. I've done several recitals for them. The one you described had a first half with the Bach 2nd Lute Suite and some other things followed by a 2nd half of flamenco. And yeah, I played "Over the Rainbow" as an encore, thanks to Laurindo Almeida's great arrangement. Did you notice the altercation that happened in the back few rows during the first half? Apparently some lady was talking... somebody else asked her to be quiet, and it escalated from there into a scene that brought the concert manager, who apologized to me later (and I had been completely unaware - just trying to play the right damn notes at the time!).
Rokket, for our lunch would you prefer Mexican or Mexican, because those are my favorites. And sure, if they've got Mex folk singers at the restaurant I'll whip out the gtr and play an accomp and maybe a lead line along with them. No... OK, any kind of food's fine with me.
Tim
Toonsmith, yeah, conservatory training but hopefully not enough to hurt my playing
Lbanks, "defined" is one of the things I was working hard to go for in the mixing so thanks. With nylon string its so easy to have everything sound like mush.
Robin, thanks for the critical listening comments and I think those are the most helpful. I'll listen more for the L/R balance you described. Hadn't noticed it before - but certainly had notice an imbalance in the overall sonority casued by the close mic'ing. Re ambiance, the reverb added was applied to the whole mix w/SIR, but if the L/R levels were out of kilt, so would their reverb levels be. Thanks for listening with that kind of detail.
jgld, small world. Sounds like you were at the St. Stephen's concert series in Ridgefield, CT, just north of Wilton. I've done several recitals for them. The one you described had a first half with the Bach 2nd Lute Suite and some other things followed by a 2nd half of flamenco. And yeah, I played "Over the Rainbow" as an encore, thanks to Laurindo Almeida's great arrangement. Did you notice the altercation that happened in the back few rows during the first half? Apparently some lady was talking... somebody else asked her to be quiet, and it escalated from there into a scene that brought the concert manager, who apologized to me later (and I had been completely unaware - just trying to play the right damn notes at the time!).
Rokket, for our lunch would you prefer Mexican or Mexican, because those are my favorites. And sure, if they've got Mex folk singers at the restaurant I'll whip out the gtr and play an accomp and maybe a lead line along with them. No... OK, any kind of food's fine with me.
Tim
fullness vs boominess
Jgld, getting fullness without boominess is always a challenge with nylon string recording. I used a Great River pre and that helps because it keeps things clear. The sound of that guitar itself is pretty consistent, note-to-note and it's not an overly bass-y guitar. But close mic'ing does tend to pick up an altered frequency spectrum so I tightened up the range under 400 Hz or so just a little with my waves multiband comp. Also helps it come through different types of speakers better.
IME with nylon, if there's trouble with boominess (and you're not making the classic mistake of mic'ing the soundhole) it'll often be because the playing is very quiet overall with occasional loud low notes. Doesn’t always sound boomy in the room, but it does to a close mic. I say that from my experience recording my students in lessons. Working on consistency of tone and volume is the best way to get balanced recordings (scales and arpeggios are your friend), but an RNC compressor in supernice mode is a quick-fix for the problem when tracking that sounds surprisingly good. Also the slim slow slider C3 multiband compressor (freeware) is good for tweaking after the fact - you can leave the high end alone while controlling the lows. Ideal solution is to play with a strong even sound and mover the mic’s back 4-6 ft in a balanced sounding room.
Tim
Jgld, getting fullness without boominess is always a challenge with nylon string recording. I used a Great River pre and that helps because it keeps things clear. The sound of that guitar itself is pretty consistent, note-to-note and it's not an overly bass-y guitar. But close mic'ing does tend to pick up an altered frequency spectrum so I tightened up the range under 400 Hz or so just a little with my waves multiband comp. Also helps it come through different types of speakers better.
IME with nylon, if there's trouble with boominess (and you're not making the classic mistake of mic'ing the soundhole) it'll often be because the playing is very quiet overall with occasional loud low notes. Doesn’t always sound boomy in the room, but it does to a close mic. I say that from my experience recording my students in lessons. Working on consistency of tone and volume is the best way to get balanced recordings (scales and arpeggios are your friend), but an RNC compressor in supernice mode is a quick-fix for the problem when tracking that sounds surprisingly good. Also the slim slow slider C3 multiband compressor (freeware) is good for tweaking after the fact - you can leave the high end alone while controlling the lows. Ideal solution is to play with a strong even sound and mover the mic’s back 4-6 ft in a balanced sounding room.
Tim