Laurence Payne wrote:
On Sat, 4 Jul 2009 21:02:04 -0700, (hank alrich)
wrote:
If you stay tight with a good mic, you can dismiss a lot of room
interaction.
A lot. But can you get it down to trivial?
Not without getting so close to the instrument that you aren't hearing
it in what I consider a natural manner.
Meaning that the instrument sounds better with some room sound? But
if we can get the BAD room sound down to a trivial level, we have
pretty good ways of adding better room sound.
Meaning that when one puts a directional mic very close to the guitar
the mic doesn't hear all of what's coming off of the instrument. It's
like putting one's eyeballs very close to a page: peripheral vision has
its limits, and one won't see all of the image.
Mind you, I do understand that this is sometimes absolutley necessary,
given various settings. In fact, in live use, almost all the time the
mic(s) must be very close to the instruments to counter both the room
and spill from the stage monitors.
I often have to place mics too closely. But in other situations,
whenever I can, I prefer that the mic be at least a distance from the
guitar equivalent to the full length of the instrument, including the
neck. I like that sound much better.
--
ha
shut up and play your guitar