Taming the 'A' string boominess on an acoustic guitar

[Middleman]

Take the damn A string off the guitar and play it that way. Problem solved.

 

[sonicpaint]

Everyone has something to offer.

chessrock don't think that "we don't need your help" it's not that we (I) were(was) not trying to shoot you down. All of us in this forum are here to help each-other, and everyone has something to offer to this forum. We all have different experiences and can offer some type of advice in any given area of recording and audio in general. I think your first response was not much help to anyone when you said "multi-band compression, multi-band compression, multi-band compression, multi-band compression". Try to explain yourself a bit more next time and don't take offense when someone disagrees with you.

I think there has been some great suggestions to the problem such as, micing over the shoulder, using a parametric equalizer, trying different mic's and different strings for that matter. I would think that with all these suggestions that the problem would be corrected. I think everyone in here would like to know if all of these suggestions have been tried with or without success, in order to bring out new suggestions. (though I strongly feel that these suggestions would more than fix or at the very least reduce the problem)

Have your tried these randyfromde? Did they work?

Later
sonicpaint

 

[TexRoadkill]

EQ and compression are both essentially dynamics processors. An EQ can raise or lower the energy of a specific bandwidth in a linear fashion where a compressor can raise or lower the energy of all bandwidths (or with multiband more specific) in a dynamic fashion.

If you took a graphic EQ and turned all the knobs up it would be a volume control. If you took that same EQ and did it dynamically it would be a compressor. If you then took that EQ and adjusted different frequency bands on the fly it would by a multiband compressor.

 

[chessrock]

Alright, thanks Tex, but we're past all that stuff.


This is about Sonicpaint and Chessrock and the story of how we are going to triumph over our differences and ultimately become friends after all of this pain and hardship.

Sonicpaint, I was merely responding to what I feel is a general lack of knowlege as to the usefulness of the multiband compressor. Whether anyone here even cares . . . it's the prefered method in much of the AE community, for the most part, of dealing with issues like the "over-aggressive A string," as well as more common frequency-specific anomalies like vocal sibilance and plosiveness, etc.

Yes, there are other ways of dealing with it . . . but I figured I'd help out a little by throwing out what is perhaps the most common . . . most practical, most obvious-to-a-duck solution.

Now what are we arguing about next?

 

[LongWaveStudio]

multiband is definitely a solution.

 

[sonicpaint]

Alright, thanks Tex, but we're past all that stuff.
Sonicpaint, I was merely responding to what I feel is a general lack of knowlege as to the usefulness of the multiband compressor. Whether anyone here even cares . . . it's the prefered method in much of the AE community, for the most part, of dealing with issues like the "over-aggressive A string," as well as more common frequency-specific anomalies like vocal sibilance and plosiveness, etc.

You and I just have different ways to handle this specific problem I guess. I'm sure there are many other things that we do agree on.

I know and agree with you that compression and more specific multi-band compression is a great tool when used correctly in many aspects of audio. The list of ways to use a compressor is endless, from creating wild effects with pumping, to bringing out a specific instrument in a mix when mastering. For me though (in my opinion) I try to use other tools first before having to go to a compressor. I just think that too may people rely on a compressor so much, that they don't even know what a natural uncompressed file sounds like. When recording I try, to the best of my ability to keep my sound open and crisp only using compression to tighten things that just couldn't be done with other tools.

Maybe your right about the majority of Audio Engineers using compression. I guess that means I'm in the minority if I don't turn to it as my tool of choice in the majority of applications. Oh well, maybe when I start being pressed by a person I'm recording(client) in the future I'll become that way too.

Later,
sonicpaint

 

[chessrock]

You see, paint, that's kind of what bugs me about talking with you.

And this is nothing personal, mind you. There's nothing wrong with the way you go about doing this stuff, because frankly, once we all start following set rules is when everything starts sounding homogenized (is that the right word/spelling? ).

And your suggestions are good, and you're a good guy and all. I just get really irritated -- and that's probably my fault I'm so sensitive -- when people put words in my mouth I didn't say.

It would be kind of like me saying: "Yea, I may disagree with Sonic about the whole comp versus multiband thing, but we do share the animal porn thing in common. So yea, I suppose a lot of engineers like animal porn, just like Sonic Paint, etc. etc."

So in other words, I said I'm in favor of using compression in this instance in much the same way as Sonic Paint says he likes to watch chicks blow donkeys.

 

[sonicpaint]

You see, paint, that's kind of what bugs me about talking with you.

chessrock I don't really know how to take that last post. What is it that bugs you about talking to me. Maybe it's just me but I don't understand what you meant. What did I say that bugs you in my last post?

sonicpaint