Generally when we talk about phase, it refers to the relationship between two signals. With a single mic you may capture the wave at a different phase of it's cycle but it won't affect the sound in itself in such a bad way. What might be a problem if you move a lot is proximity and if you are using a narrow polar patterned mic such as a super cardioid (ie:Sennheiser 441), this will be more pronounced. I guess what you mean is that when you start overdubbing, you may end up with phase problems. It is possible that positioning might cause a phase problem if room modes are affecting your recording but that will happen regardless of how many mics you are using if the room is bad.
It takes practice to sit still but it can be done. The boominess is just a matter of mic placement. Yes absolutely, you want the best signal to print but personally, I don't think you can get that from a piezo transducer.
It takes practice to sit still but it can be done. The boominess is just a matter of mic placement. Yes absolutely, you want the best signal to print but personally, I don't think you can get that from a piezo transducer.
NO-ONE sits still enough long enough NOT to blow a take! All sorts of noise carries over...especially the sound of the rubbing of the back of the guitar against shirts, belt buckles and under elbows."
"Phase/schmaze...maybe it's all the rage. But if yuh fidgit around...so will duh sound!" :lol:
Cat
"Feel what you play...play what you feel!"
Aaaaak! No, Chris. I wasn't saying YOU were a pirate! It wass on my mind recently, that's all. Just last year a good friend of mine (a new Hall Of Famer) got stiffed for his drum session pay...which was HEAPS! The work he did ended up getting good airplay but the corporate-end of the gig went "belly up" after the cops and civil courts got through with them for using pirated ProTools. They got reamed, steamed...and dry cleaned! Now all their past work is being investigated (under subpoena) for more of the same.
I'm of two minds about this. Broke musicians have pirated stuff, there's no doubting that. Don't cha think that SOMEWHERE the manufacturer should itemise out the trouble (specifically) that awaits a successful musician? I mean, if it's demo stuff...or just duds...no-one will ever know. But if it "flies"...99% of pirates don't even understand what's lurking ahead in "the real world"!
Oh, how mighty iz the dollah!
Cat
"Feel what you play...play what you feel!"
Well Cat, I know you have a lot to teach us so I patiently wait. I personally think the BR1600 is a good investment. Not for it's capabilities but because it's limitations make you a better troubleshooter. Of course that just an opinion of someone who's never used it.
Just thought, I'd post this link cause this guy has some great acoustic tips:
http://www.recording-microphones.co.uk/recording-Acoustic-Guitars2.shtml
Hey, Hueseph! Thanks for that...
In all realms of poskibilities...OF COURSE it's better to have the pureness of the acoustic sound coming from a guy that knows how to play it! But as far as a competant studio goes...in compositions that have OTHER musicians, as well...they don't! There's ALWAYS something to fix in the mix that has absolutely NOTHING to do with the music...only the cosmetics. For instance...doing a take...then taking a break...then going back to it means re-EQing everything...and it's never "right". $o you keep at it until it i$ "right".
Me? I'm a "hit 'n runner". I do jingles and my bottom line is augmented by how cheaply (IE: quickly) I can do thing$. One of my mentors (long ago!) told me doing jingles was "like slitting someone's throat": use a sharp knife and get it over with.:shock:
Cat
"Feel what you play...play what you feel!"
Fully understood. I have heard plenty of decent recordings done direct. For that matter the majority of "pro" recordings are likely direct with some sort of emulation or convolution impulse or both going on. Forgive me for being such a geek. I can't help it. If I were a geek that had it all right, that might help but unfortunately, I'm a geek just enough to be dangerous. :lol: :oops:
Fully understood. I have heard plenty of decent recordings done direct. For that matter the majority of "pro" recordings are likely direct with some sort of emulation or convolution impulse or both going on. Forgive me for being such a geek. I can't help it. If I were a geek that had it all right, that might help but unfortunately, I'm a geek just enough to be dangerous. :lol: :oops:
I like the bit about "I have heard plenty of decent recordings done direct", Hueseph!
Every session musician with any years at it KNOWS how they sound. They know the ProTools setups (this is the ubiquitous system)...AND they show up with THEIR "best" mics. Drummers, too.
"Decent" recordings done direct? I have my own personal...take with me...idea of my musical self wherever I go. This setup sounds incredibly "like you" if you know NOT just HOW to operate today's operating systems...but how to use them beyond the norm! Again, I like ProTools. This's how I set up my own six string...in a flash:
1979 Ibanez artist EQ (looks like the one on the top right hand side of the GN site, I think)...with the addition of one Arp Avatar split pickup ("split" meaning top three strings are apart from bottom three strings)...
The Arp two make two channels/tracks...EQ one for high, one for low
The pickup on the guitar is sent to three (direct box into the board, two on live mics in front of a tiny amp speaker)...
for FIVE total...but there's really TEN after I tweak each track...and experiment "playing the faders" as if the board was its own instrument.
All boiled down to two on the exit...with the ten input tracks always on file.
When I am in a new place and I hear "ProTools"...it takes me all of five minutes (yeah...maybe six minutes) ready for airplay-quality takes. The guy paying the bills likes this sort of approach. Hey! You get to understand the adage about "slitting throats".
Still...I guess I have forgotten how it was to FINALLY come up with the tunes/talent/money to first get into a really GOOD facility and roll the dice for the first time. It's fascinating/you've made a day or week of it/you ain't in no hurry.
Yeah...mic an acoustic the "most acoustic way". :wink:
Cat
"Feel what you play...play what you feel!"
Saw this thing in the shop...and looked it over on the Boss site. Thinking of getting it for my three sons (engineer & drum synth/six string/bass)...
Anyone out the4re in GN Land got one???
How is it? Hate to toss another $3K onto the pile of old electronics building up in the shed! :roll:
Cat
Hey Cat,
I don't have the 1600 but I do have the 1200, which is basically the same unit, minus quite as many inputs/outputs. It is a very solid recorder and has just about everything you'd want out of a recorder. My only gripe, which I'm in the middle of figuring out a remedy for, is that it doesn't easily allow a connection to an external effects processor, so you might be stuck using the ones that come with it. Now most of the effects are quite good, but some of them (reverb) just aren't good enough quality and you'd probably want to use a different processor. However, if you're using a computer, you may have some good software plugins to use, in which case, it's not really that big a deal.
It is very intuitive and easy to use. You don't even really need to read the manual for most of the stuff. It's got just about every connection you could want: 1/4th inch guitar type inputs/outputs, XLR mic inputs/outputs WITH phantom power (if you need it), stereo line inputs/outputs. It's also got a very decent drum/bass unit that sounds great to me. You can create your own backing tracks, no problem, although of course it can take some time, depending on how detailed you wanna get.
Anyway, hope this helps.
Matsumon...
Yeah...thanks for that. I'm hoping to replace their Playstation 3 time!
From here...it's up to Santa Claus...
Cat
"Feel what you play...play what you feel!"
I know it's a old thread....sorry!! I just joined so give me a break!! :lol:
I do have the BR1600 and love it. I bought it about 6 months ago, and at that time I had zero recording expeirence...still not that great at it, but... I was recording with it within an hour after a brief read through the manual. After about a month, I had my 1st multi-tracked full band recording completed. So, it's fairly easy to operate but like with most things, there is a slight learning curve. Especially to make it actually sound good.
The only few gripes I have with it - you can't solo any tracks. This gets quite annoying sometimes. I'm not really fond of most of the COSM guitar FX (amp and FX modeller). Starting the unit, importing/exporting files, and CD burning seem to take too much time, but it's bearable.
Overall I'm happy with the unit. I use it quite often.
Another option that I've heard great raves about is the TASCAM 2488. Basically the same thing, but cheaper.
