A Reel Person
It's Too Funky in Here!!!
Yeah,... it is what it "seems"!
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SteveMac
New member
Actually, when there have been so many great recordings done at that speed and faster I realize that's a silly question. 
So, um....of course.
So, um....of course.
cjacek
Analogue Enthusiast
bass response, warmth, whatever .....
That is one of the reasons I still dig recordings done @ 7 1/2 ips (and even 3 3/4 ips).
That is one of the reasons I still dig recordings done @ 7 1/2 ips (and even 3 3/4 ips).
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B
Beck
Guest
Yeah, if the warmth is what you're missing you just have to make up for it somewhere else, like EQ. That is, if it is indeed the lower tape speed that made the big difference.
All these things interplay, so if you change one thing you have to change something else to compensate. 7-1/2 definately has a different character than 15 ips. At that speed you have more of the “Tape effect” that people try to simulate with plug-ins.
It probably comes down to adjusting to a different setup. The most hauntingly beautiful acoustic pieces were recorded at 15 ips, so not to worry about the format.
Personally, I like recording acoustic with two mikes as I described, but also two tracks. Pan them to taste on mixdown and you have a thick sound that spans the stereo panorama to whatever degree you want. I also like layering – playing the part twice, which I find more pleasing than doubling with an effects processor. But, there are many ways to treat the sound of an acoustic and I’ve also recorded to a single track and sent that through a stereo chorus on mixdown – whatever works for the piece. The Rockman analog stereo chorus is a dream – one of my favorites, digital or analog.
There are two schools when it comes to rooms. You either have real ones or you create them with delay/reverb. I usually create rooms with digital processing. But unless you’re recording in an anechoic chamber it’s really a combination of the two.
If the room is just unacceptably honky, you can close-mic with a near-coincident pair for example. You can then make one of those mics the more distant mic by sending it into a room you’ve created with a digital reverb.
These are some of my preferred methods... and a thousand variations – too many to list in detail, but you get the idea.
~Tim
All these things interplay, so if you change one thing you have to change something else to compensate. 7-1/2 definately has a different character than 15 ips. At that speed you have more of the “Tape effect” that people try to simulate with plug-ins.
It probably comes down to adjusting to a different setup. The most hauntingly beautiful acoustic pieces were recorded at 15 ips, so not to worry about the format.
Personally, I like recording acoustic with two mikes as I described, but also two tracks. Pan them to taste on mixdown and you have a thick sound that spans the stereo panorama to whatever degree you want. I also like layering – playing the part twice, which I find more pleasing than doubling with an effects processor. But, there are many ways to treat the sound of an acoustic and I’ve also recorded to a single track and sent that through a stereo chorus on mixdown – whatever works for the piece. The Rockman analog stereo chorus is a dream – one of my favorites, digital or analog.
There are two schools when it comes to rooms. You either have real ones or you create them with delay/reverb. I usually create rooms with digital processing. But unless you’re recording in an anechoic chamber it’s really a combination of the two.
If the room is just unacceptably honky, you can close-mic with a near-coincident pair for example. You can then make one of those mics the more distant mic by sending it into a room you’ve created with a digital reverb.
These are some of my preferred methods... and a thousand variations – too many to list in detail, but you get the idea.
~Tim