This supremely dependent on a space that sounds like something pleasant.clinton wrote:Chris Fudge gets amazing acoustic guitar tones by using two mics with one placed directly behind the guitarist above their head. I swear to God, it's the nicest acoustic guitar tone I've ever heard.
Malcolm Boyce wrote:Methinks Christian needs to get his first halfway decent condenser mic since he's traveling further down this road to audio ecstasy.
Look at the M3 as well. Both good choices for a starting point, but the NT3 is priced more in their "studio" series.Christian LeBlanc wrote:I'm interested in the NT3 now.
As soon as you listen to an SM58 and something like an NT3 on the same source, you'll understand more than ever how different mics are.Christian LeBlanc wrote:I'm also liking the idea of using a new 2nd mic in tandem with my 58 to produce a nicer stereo sound (even if the 58 is not ideal), so that's something to look forward to.
Malcolm Boyce wrote:I rarely like mixed or blended direct/miced acou gtr sounds. It's usually one or the other for me. This includes newer "pickup" systems that do this kind of thing on board. The two elements usually sound great, and then when mixed... Eeeek.
Malcolm Boyce wrote:Methinks Christian needs to get his first halfway decent condenser mic since he's traveling further down this road to audio ecstasy.
Slipperman wrote:I have heard rumors of these "ampless guitars" being used on records but have never seen it done personally.
Are they in any way related to those "bonfire starters" I have employed for years with great effectivity?
One question though...
Why do they bother with the strings and tuning pegs on the torch handle?
I know the hollow wooden cavity is where you put the various accelerants... but I never got the purpose of the steel or nylon wires you usually see attached. They always come snapping off after the unit is full engulfed.
No matter. Nothing gets a really big fire going like a D-28 filled with nitromethene and thermite.
SM.
clinton wrote:Chris Fudge gets amazing acoustic guitar tones by using two mics with one placed directly behind the guitarist above their head. I swear to God, it's the nicest acoustic guitar tone I've ever heard.
Christian LeBlanc wrote:Now, with the mic, I was not able to get enough volume out of the guitar without a pick, so I had to normalize the track to boost the level, hence the hiss on both takes.
RoadDog wrote:Here's the thing though, the assistant had made a wonderful mistake and what I thought was the neck 84 was actually an AKG 460 ULS about three feet away directly in front of the guitar about a foot off the deck ... pointed directly at the...HARDWOOD FLOOR.
Mathieu Benoit wrote:I'd look at going back and retracking with a preamp/mic combination that can get you more clean gain. The amount of hiss is pretty distracting. Gain staging is just as important as where you put your mic.
Christian LeBlanc wrote: I'll take a further look through that forum you shared, as I'm sure it's come up.
Mathieu Benoit wrote:If you got a really solid preamp that has a lot of clean gain then you just have to find a microphone that will do a good enough job.
All this.macrae11 wrote:I would stick to mono for now if I were you. Keep it simple, master that, and then if you find you're lacking in some way try adding another mic. Probably about 70% of my acoustics are mono, and if it's a dense mix a lot of times the times I mic in stereo I only end up using one of the channels.
Malcolm Boyce wrote:I would more likely suggest the KSM137 as most will not end up using the Omni setting, and the price is enough to make a difference to someone like Christian. You would never outgrow the 137 or 141... ever.
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