Studio Projects B1

[Dogbreath]

Yup

SP B1.

Workhorse.

Yup.

 

[Big Kenny]

What does it matter when all your songs probably suck asshole? And i dont mean genre-wise. I mean if all your tunes are written half assed with absolutely no regard given to composition or parallel construction nothing will really "sound good" to anyone but you.

Man, anyone with a few bucks (or a million bucks) and an instrument can call himself an "artist" these days.

This is your ideal setup if you really care about music and art:

Some means of recording and playing back sound (analog, digital) that doesnt take alot of time or money to operate and maintain.

A microphone (any)

An instrument (any)

Your voice

Then all you have to do is write and record and practice and study other successful compositions. When you are learning from others songs, dont be an idiot and listen for guitar tone or echo or anything facetious. All that is bullshit. Write down the count of the song and take note of where all the accented or unaccented counts are. Look at the chord progressions and take note of every change (think of every chord change as one chord to the next, not just 5 or 6 chord groups). What notes move up or down? What notes sustain from one chord to the next? Does the progression follow the harmonic scale religiously or are there deviations (chromatic notes or chords)? Examine and take note of all cadences. Are they conventional or unconventional cadences? Then study melody. How many notes are on the accented (masculine) or unaccented (feminine) beats? How many notes are non chord tones? Are those non chord tones occuring on accented or unaccented beats? Are there any suspensions or anticipations occuring in the non chord tones? Also since cadences are both harmonic (chords) and melodic (notes), take note of where the melody lands as the cadences close. Does the melody land on a root note (at rest) or some other note like a 3rd or 5th (continuing)? Also, study the songs for any occurrences of any sequence based hooks or modulations. Take note of how the writer moves the key from one to the other using certain musical devices. Practice moving keys around (modulating) with intent, NOT RANDOMLY.

These are just some of the things you MUST do a thousand times over to gain even a touch of what makes a good songwriter consistent. Only by doing these types of structural analysis and then trying to repeat it in your own compositions will you ever be worth a shit.

Does it seem like too much work?

Does it seem too analytical?

It is. But in time youll do it all procedurally. I dont even have to think anymore when i am trying to hear whats really selling beat and melody. IVe done it enough to where i can just hear almost any device as it is being used by the writer. And whats more interesting than that, i can hear how certain writers use certain devices to give their songs a "unique" stylistic element. But i couldnt always. It has taken years of really listening hard to things other than "guitar tones" and all the useless bullshit (im 26). So just keep trying and youll get there too. And youll be able to fix structurally weak elements in your own songs fairly quickly with enough practice.

Youll never be shit if you think an expensive mic or a state of the art medium makes great art.

Its the man behind it.

Some men can "fix" their talent shortcomings with shiny sounds and distracting production, but in the end it is just patchwork that only fools the other patchworkers. So rely on composition only. Every second you waste on worrying about production is a second you could have made a mental breakthrough in the realm of composition if you had been learning, studying, performing.

When are people going to learn whats really up? We have too much money in this country.

So, um, yeah...try out the B1 and let us know what ya think, and welcome to the boards jill!

 

[Dogbreath]

oh yeah...

sorry Jill

welcome to the board.

 

[PhilGood]

What does it matter when all your songs probably suck asshole? And i dont mean genre-wise. I mean if all your tunes are written half assed with absolutely no regard given to composition or parallel construction nothing will really "sound good" to ....

WTF???

A. Who are you directing this towards?

B. How do you know how talented they are?

C. Step away from the crack pipe and get to a hospital!

D. Mind altering drugs don't really make music better to anyone other than you.

E. Let's hear some of your incredible, well thought out and constructed music, superstar!

 

[L mandrake]

We have too much money in this country.

Now theres a thread ready to spring forth. Gear sluttery has always been a bit of a head scratcher for me.

 

[recordingpro]

Gotta love the cheap SP B1. I have two for use with acoustic stringed instruments, and the unhyped response works well for me. Excellent value.

Unhyped???? WTF??? Get your earwax cleaned out mate!!!

 

[geet73]

BLAH BLAH BLAH

As important as the song is, I'm REALLY tired of seeing responses like this in thread ABOUT GEAR. WE'RE TALKING ABOUT A MICROPHONE. NOT THE SONG.

I love the B1. I don't have much experience with other mics, but it sounds great from my purposes. I've used it on piano, room mic, toms, OH, in front of a kick drum, banjo, cello, violin, mandolin, acoustic guitar, and vocals with great success. It was a bit brittle in front of a raging guitar amp. I've only tried it once. I'll give it another shot eventually.

I honestly don't think you'll be disappointed with it.

 

[Supercreep]

Unhyped???? WTF??? Get your earwax cleaned out mate!!!

We have yet to hear a damn thing you've recorded either, mister.

 

[Treeline]

*action insearch of attention*
*stomping of feet*
*waving of arms*
*action of running around in circles yelling at the heavens*
*development of tantrum rendering self unaware of surroundings*
*creation of sharp, percussive sound as a result of collision between head and adjacent tree limb*
*unsuccesful communication in search of pity*
*expression of rejection and bitterness at failure of same*
*action insearch of attention*
*stomping of feet*
*waving of arms*
*action of running around in circles yelling at the heavens*
*development of tantrum rendering self unaware of surroundings*
*creation of sharp, percussive sound as a result of collision between head and adjacent tree limb*
*unsuccesful communication in search of pity*
*expression of rejection and bitterness at failure of same*
*action insearch of attention*
*stomping of feet*
*waving of arms*
*action of running around in circles yelling at the heavens*
*development of tantrum rendering self unaware of surroundings*
*creation of sharp, percussive sound as a result of collision between head and adjacent tree limb*
*unsuccesful communication in search of pity*
*expression of rejection and bitterness at failure of same*
*action insearch of attention*
*stomping of feet*
*waving of arms*
*action of running around in circles yelling at the heavens*
*development of tantrum rendering self unaware of surroundings*
*creation of sharp, percussive sound as a result of collision between head and adjacent tree limb*
*unsuccesful communication in search of pity*
*expression of rejection and bitterness at failure of same*
*action insearch of attention*
*stomping of feet*
*waving of arms*
*action of running around in circles yelling at the heavens*
*development of tantrum rendering self unaware of surroundings*
*creation of sharp, percussive sound as a result of collision between head and adjacent tree limb*
*unsuccesful communication in search of pity*
*expression of rejection and bitterness at failure of same*
*action insearch of attention*
*stomping of feet*
*waving of arms*
*action of running around in circles yelling at the heavens*
*development of tantrum rendering self unaware of surroundings*
*creation of sharp, percussive sound as a result of collision between head and adjacent tree limb*
*unsuccesful communication in search of pity*
*expression of rejection and bitterness at failure of same*​

 

[jeffree]

Unhyped???? WTF??? Get your earwax cleaned out mate!!!

Had a tune reviewed by Marty Peters, who doesn't hesitate to criticize, in Recording mag last fall. Used only the SP B1s with minimal EQ and processing:

"The acoustic guitar is very well presented, particularly for a non-botique instrument using the AW16G's mic pres... the balalaika is equally impressive."

If you're interested, you can find the full review and this tune, "Shades of Sharya", at www.recordingmag.com

J.

 

[Big Kenny]

Nice Jeffree, I too am fond of Baklava.

 

[mrface2112]

Nice Jeffree, I too am fond of Baklava.

+1 here. i find the sticky fingers makes it hard to play, though.


and also +1 on the B1. not so good on most vocalists (it's too "honest"), but excellent on guitars, amps, drums, etc. what goes in comes back out.


cheers,
wade

 

[Dogbreath]

Hey Jeffree,

Out of curiosity, where did you set your B1 on the acoustic? Up close on the 12th or back a couple of feet?

I'm working on a 12 string tune right now and am shootin for a nice crisp sound too.

Inquiring minds and all that....

Thanks man.

 

[jeffree]

Hey Jeffree,

Out of curiosity, where did you set your B1 on the acoustic? Up close on the 12th or back a couple of feet?

I'm working on a 12 string tune right now and am shootin for a nice crisp sound too.

Inquiring minds and all that....

Thanks man.

Sorry, Dog, I'm a musician first and reluctant engineer, so I'm not the best source of advice on mic placement. In fact, I usually rely on an experienced engineer to set things up when I'm in a full studio and not at home. (I like being able to blame any bad results on the engineers, rather than myself.)

That said, for what it's worth, unless I'm stereo micing, I begin by positioning the mic about 12" from the 12th fret and begin by angling it slightly toward the sound hole (if I want fuller tones). If I'm looking for a brighter sound that emphasizes the percussives of picking/strumming, I'll nudge the angle of the mic slightly toward the nut. I use closed headphones and then a few trial runs to find the particular sound I'm after--or at least the ballpark sound since I try to move quickly when working at home. In general, though, for a brighter sound, I'll use some combination of moving the mic outward a bit, angling it more toward the nut, and using a lighter pick. I admit that it's a poor-man approach; if I had a large mic locker, I'd probably try different mics.

By the way, one of the best little tips I've picked up is to vary the thickness of my guitar pick. I often use a very light pick these days when adding strummed backing chords (for that breezy Pat Metheny backing sound) and a heavy pick for deeper-tone solo parts. I've found that pick size can be nearly as important as mic placement to achieve certain sounds.

I'm sure the wiser engineers here could offer much more detailed suggestions than I can. There are also some good sticky threads (and I don't mean about recipes for baklava!) here at the forum that relate to placement.

Best,
J.

 

[Dogbreath]

Thanks man

I've read thru a bunch of stuff and have been experimenting with placement and got good results but I like your sound and was wondering if you had some certain technique you used.

And I know what you mean about the pick. Makes a big difference doesn't it.

Thanks again man. Appreciate the time.

 

[kid klash]

... The C3 was designed primarily for vocals, although lots of people use them on lots of other sources. It's a single cardioid pattern LDC, it has a slight high end rise to give the vocal an "immediacy" and sheen.

Sorry for the typo - I was writing about the C1; the C3 is a multi-pattern mic.