here is some Bach for you, minuet 2 from the anna magdelena notebook
https://soundcloud.com/bentyreman/j-s-bach-minuet-2-from-the
https://soundcloud.com/bentyreman/j-s-bach-minuet-2-from-the
Nicely played. The Anna Magdalena's some of the most beautiful simple music in the world, yeah. Who arranged the guitar part you used?
The next time you record nylon-string, try getting a warmer sound on it. On this one, it sounds a bit like you've got a small mic stuck inside the body of the guitar, or maybe you miked it in a small room with the mic right on the soundhole. How'd you mic it? I used to mic nylon-string a lot; I'd put a LD condenser about nine inches off the twelfth fret and a SD condenser about nine inches off the bridge. Pan to taste and add reverb after the fact. That mic position avoids the slight hollow boominess you're getting here and records a pretty dry sound free of room which lets you play with reverb afterward. Of course, if you're really dedicated, you'll just find a great room and do the stereo miking thing. I never had that luxury. FWIW, I just got a new nylon string, so I'll be exploring this all over again. I live in a new place with a whole new set of rooms to try the stereo miking thing in, but I'm not holding out too much hope. I think I'll probably have to go the close-mic route.
Nicely played. The Anna Magdalena's some of the most beautiful simple music in the world, yeah. Who arranged the guitar part you used?
The next time you record nylon-string, try getting a warmer sound on it. On this one, it sounds a bit like you've got a small mic stuck inside the body of the guitar, or maybe you miked it in a small room with the mic right on the soundhole. How'd you mic it? I used to mic nylon-string a lot; I'd put a LD condenser about nine inches off the twelfth fret and a SD condenser about nine inches off the bridge. Pan to taste and add reverb after the fact. That mic position avoids the slight hollow boominess you're getting here and records a pretty dry sound free of room which lets you play with reverb afterward. Of course, if you're really dedicated, you'll just find a great room and do the stereo miking thing. I never had that luxury. FWIW, I just got a new nylon string, so I'll be exploring this all over again. I live in a new place with a whole new set of rooms to try the stereo miking thing in, but I'm not holding out too much hope. I think I'll probably have to go the close-mic route.
C'mon. You got Johann Sebastian in your avatar. You're doing credit to the playing of the music, but not the recording of it. Raise your game.
I didn't hear any boom, but if there is, slight roll off down on the bottom would cure that. I thought the guitar sounded very good, my only comments was it lacked some top end, a little dull sounding. Did you ever hear the guitar in the opening of the series "Doc Martin"? Really nice balance on that guitar part.
Tad roll off (maybe) down at the 100hz area (I didn't hear it, just going by the comments) and some push up above the 8-10Khz range for some air. Sounded fine on my system and ears.
Maybe 'slight hollow boominess' wasn't the best word. Maybe 'slight hollow boxiness' would be better. Dunno. But the sound's compromised by a combination of mic position and room, I think. If I was mixing this, the first thing I'd try is scooping low mids and the second thing would be a higher low cut. But better miking would reduce the need for both of those.
That sounds way better. How'd you do it?
It's such beautiful music, yeah?
Damn, that's a good mic. Close-miking acoustics is weird - the whole instrument is the sound source, so when you're a foot away with the mic, you're getting some proximity effect usually which boosts lows, so I wonder if the Neumann's good for avoiding that. If you mic the soundhole though, you get a woofstorm no matter what mic you use.
Could you describe the room for me? I'm not idly curious - I'm going to be miking nylon string soon and I'm gathering information.