roflcopter
New member
when recording acoustic guitar, how can i suppress the sound of the pick against the strings? i don't want to TOTALLY eliminate it, i like the sound. but it seems like it stands out a little too much.
chicka chicka chicka
- Thread starter roflcopter
- Start date
tc4b
Yeah I been drinkin, SO!?
Could depend on a lot of things. Here are the first few I would try:
- changing mic position; if you're using two mics, take theone away from the soundhole (or bridge) and put it over your shoulder instead
- EQ'ing; people here will tell you that a well-recorded performance won't require EQ'ing, and they're probably right, but it's a fact of life for most of us non-professional home recordists
- Room treatment; could be that percussive sound is reverberating all around a crappy room and getting amplified
What is your signal chain?
- changing mic position; if you're using two mics, take theone away from the soundhole (or bridge) and put it over your shoulder instead
- EQ'ing; people here will tell you that a well-recorded performance won't require EQ'ing, and they're probably right, but it's a fact of life for most of us non-professional home recordists
- Room treatment; could be that percussive sound is reverberating all around a crappy room and getting amplified
What is your signal chain?
Farview
Well-known member
Use a stiffer pick. I have this problem with people that use thin picks.
Sometimes it's just the guitar. If the guitar is really quiet, the sound of the pick is just loud in comparison to the volume of the notes...
Change the strings. Dead, dull sounding strings will make the pick attack seem louder than it is.
Sometimes it's just the guitar. If the guitar is really quiet, the sound of the pick is just loud in comparison to the volume of the notes...
Change the strings. Dead, dull sounding strings will make the pick attack seem louder than it is.
roflcopter
New member
mic>high pass EQ @ 140hz>compression...that's about it. i high-pass every track except kicks and bass though.
what frequencies would i try to EQ?
what frequencies would i try to EQ?
I have a feeling you're looking for advice on post-processing, but I'll start the fun off with the suggestions to use a lighter(thinner) pick, back the mic up just a bit, maybe even point the mic at the 12th fret, or place it near-er to the bridge and aim it at the strings at a point before where the artist's pick hits them.
It might even come to asking the artist to lay off the arm power for a take or two. Acoustic players will often be accustomed to projecting the instrument to the audience, and if the change in harmonics that comes from slamming the strings is what we want then we'll need to find a way to cope with it in our mic placement and mic choice, but mostly if the mic can hear you it can and we don't need more force.
In the past my personal offenses include attempting to mic the sound-hole, aiming the mic at the spot the pick hits the strings, and running right out of the guitar's on board piezo. I have had some good results though using a LDC at about 12th fret, stereo with a SDC at the headstock pointing down the neck and using a soundhole pickup all at the same time.
as usual all of the best case scenario advice involves changes before the sound hits the hard disk. If you have to keep the take you've got, a compressor is gonna be your only hope, probably with an attack and release rate we would normally consider to be too extreme for actual use, and you might even just consider a limiter but both of those options will almost certainly leave you wanting for a better sound.
It might even come to asking the artist to lay off the arm power for a take or two. Acoustic players will often be accustomed to projecting the instrument to the audience, and if the change in harmonics that comes from slamming the strings is what we want then we'll need to find a way to cope with it in our mic placement and mic choice, but mostly if the mic can hear you it can and we don't need more force.
In the past my personal offenses include attempting to mic the sound-hole, aiming the mic at the spot the pick hits the strings, and running right out of the guitar's on board piezo. I have had some good results though using a LDC at about 12th fret, stereo with a SDC at the headstock pointing down the neck and using a soundhole pickup all at the same time.
as usual all of the best case scenario advice involves changes before the sound hits the hard disk. If you have to keep the take you've got, a compressor is gonna be your only hope, probably with an attack and release rate we would normally consider to be too extreme for actual use, and you might even just consider a limiter but both of those options will almost certainly leave you wanting for a better sound.
tc4b
Yeah I been drinkin, SO!?
Trial and error! If you can side-chain, you might just try compressing those freqs (when you find them), thus is how a de-esser would work.
Just finished my post and read Farview's, it's interesting to me that my experience regarding pick thickness vs. pick attack noise is practically opposite and would have to suppose that mic placement or pick material would be the culprit.
not trying to hijack the thread, but farview would you mind outlining your typical mic choice/placement? even in a pm if necessary, cause this is gonna bug me till I figure out why.
not trying to hijack the thread, but farview would you mind outlining your typical mic choice/placement? even in a pm if necessary, cause this is gonna bug me till I figure out why.
Farview
Well-known member
I will do one of three things.
1. SM81s in an XY configuration pointed at the 12th fret
2. SM57 pointed at the 12th fret
3. LDC a foot out in front of the guitar pointed at the bridge and another LDC next to the guitrists left ear pointed toward the body of the guitar.
Thin picks are bad because they deflect too much. They come off of one string and slap the next one as you are picking it. That's what makes that slappy noise. A stiff pick is quieter.
However, most of the time, it's a cheap quiet guitar that is the real problem. Or, somone playing too quietly.
1. SM81s in an XY configuration pointed at the 12th fret
2. SM57 pointed at the 12th fret
3. LDC a foot out in front of the guitar pointed at the bridge and another LDC next to the guitrists left ear pointed toward the body of the guitar.
Thin picks are bad because they deflect too much. They come off of one string and slap the next one as you are picking it. That's what makes that slappy noise. A stiff pick is quieter.
However, most of the time, it's a cheap quiet guitar that is the real problem. Or, somone playing too quietly.
You don't need a mic to note the difference. Thin pics (at least when strumming) are the ones that give the clickety-clackety sound. This is a well known fact, not an opinion.
It must matter to him or he wouldn't have started a thread about it.
Bump to the heavier pick. Light picks slap and flop. I find that light picks on quiet passages are more "pick-ish". THe mic placement is also a big deal and the sugesstion for mic'ing at the shoulder of the instrument will also help. THe lower rear (bottom) towards the right hip from behind can help but be wary of phasing issues if using more than one mic. I have use that before and had good results; it does present a "duller" profie but can really help with the pick noise. Some acoustics have a real sweet spot on the lower right half of the guitar. Nonetheless a heavier hand and heavier pick can often solve the prob as the string is making more sound than the pick itself. Are your players gentle strummers or more agressive? It is like a signal to noise ratio type of thing; the noise (pick) vs the string. Hope that helps. The sugesstions as to mic placement by farview and others are very good ideas too. Be well all. W.
Supercreep
Lizard People
Compress.
When I record acoustics, it's usually to get that sound. Maybe you're looking for an electric track......
When I record acoustics, it's usually to get that sound. Maybe you're looking for an electric track......