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scuz posted:Sorry, I made you type that whole words out Another possibility is to just do it live. Get a good balance going in the room first. Take your best mic and systematically record some samples from different placements in the room. Pick the one that sounds the best - shows the best balance between the instruments, and doesn't have any crazy frequency peaks or nulls - and record that. If you have two decent mics you can pan them out and get stereo.
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Dec 16, 2009 08:25
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Also when I say windscreen I mean the thing that screws on to the microphone where the diaphragm is. Like the difference between the SM57 and SM58 is its windscreen. What do you call it?
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CalvinDooglas posted:Realistically, you can't get enough separation to get anything close to "stereo". To do a real stereo recording, you need multitracking, drum mics, all that. There' no such thing as ambient mic placement that makes the drums sound good. Trying to set up one or two microphones in a room with drums, you'll spend all your time trying to make anything else audible above the cymbals. Recording drums first is the only way you can get decent balance and make it sound like something other than a microphone dangled into a practice space. You make good points. If the drummer doesn't have the best feel and can't ease up on the cymbals a little it probably won't work. Likewise if you have a guitarist that refuses to turn his Marshall below 9. In my experience I'd rather have the "mojo" of the band playing together than the modest quality increase you'll get from bouncing on a cassette deck. To each their own I guess.
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Dec 17, 2009 00:38
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Scarf posted:Record without the band knowing it Using a $50,000 invisible Telefunken U47 
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Dec 17, 2009 00:58
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mrbradlymrmartin posted:Two for stereo That reminds me: not to be pedantic but if you place two microphones in a room and pan them hard left and right you will get a stereo recording. Not in the sense of "high hat on the right, ride on the left, kick, bass and vox up the middle, but it will have a sense of space due to the phase relationships that a mono recording wont. I will probably regret posting this, but here's an example that a band I was in made 10 years ago using this method. Two SM58s on either end of the room, which happened to be a storage shed with a roll up metal door. It sounded like poo poo in there. The guy that put them on myspace put some kind of compressor on there in the hopes of making it louder I think that doesn't sound real good, but you can get an idea of the sound you might expect. Not great Also don't judge too harshly it was the '90s.https://www.myspace.com/stickmanlincoln
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Dec 17, 2009 05:26
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warwick5s posted:I have a rider added to my homeowners for full replacement cost of things like my basses, amps, and laptop. They're insured at full retail cost because if someone jacks one of my Stambaughs it's not like I can just go out and buy a new one. That's a good idea, because having been through a burglary and claim on my homeowner's insurance I can tell you that the insurance company's ideas about instrument depreciation are very different from yours or mine. It's also important to note that renter's/homeowner's policies generally won't pay on instruments if you play music in a "professional" capacity. Definitions of professional will vary, so be aware of that if you're playing out and getting paid.
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Dec 31, 2009 00:21
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Horse Divorce posted:What's the worst that can happen if I decide to put an electric guitar's pickup in my bass? (I told you, Frankenstein!) What's the best? I'd rather not wast the money if it won't make a sound, let alone a terrible one. It's not going to explode or anything, but the stock pickups would have to be spectacularly bad to sound worse. Fender used to put single coil guitar pickups in their Musicmaster basses in the '70s. Six pole pieces and everything. It works, but that's about it. You could always defret it, if you're in to that. There's a million guides online.
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Jan 1, 2010 04:20
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Optiquest posted:Whats the opinion on downtuning guitars for storage/travel? I've got guitars that I won't see for 2 months that have to go across the lake. I'm not sure what you mean by "across the lake" but I think the main thing to worry about would be subjecting a guitar to dramatic and sudden changes in temperature or humidity, like one might find in the cargo hold of a plane. If you absolutely have to check a guitar as luggage or ship it by air, I would agree with Ferrous to tune it down a step or two, and give it a day or two to acclimate before tuning to pitch.
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Jan 24, 2010 05:44
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