Hi folks -

I've read through the archives, and I wanted to run past y'all what
I'm planning and see what you think.

I'll be recording three pieces on classical guitar, in my (untreated
14x17) master bedroom. I'm planning on using two small diaphragm
condensors (MXL 603s - supposedly matched), one about 6 inches away,
pointed at the body/neck join level to the body, and the other about
18 inches away and maybe 6 inches up. They'll be running into a
Lexicon Omega, connected to my DAW in another room.

I do have other mics available (mostly more MXL's, to be honest), but
based on what I've read here, it looks like the small diaphragms are
the better choice.

The room isn't very live, and I know I'll get some flutter echoes if
I'm not careful with volume and placement (parallel walls and a
vaulted ceiling).

The recording isn't for publication, it's to let the friend of mine
who built it and hasn't heard it have an idea of how it sounds, but I
want to do it as right as I can.

Thanks -

--
jtougas

"listen- there's a hell of a good universe next door
let's go" - e.e. cummings

jtougas wrote:

I'll be recording three pieces on classical guitar, in my (untreated
14x17) master bedroom. I'm planning on using two small diaphragm
condensors (MXL 603s - supposedly matched), one about 6 inches away,
pointed at the body/neck join level to the body, and the other about
18 inches away and maybe 6 inches up. They'll be running into a
Lexicon Omega, connected to my DAW in another room.

I'd set them up as a crossed stereo pair out a foot to a foot and a
half, moving them around until you get a good balance over the range of
the instrument. By keeping them near-coincident, you won't have phase
cancellation of certain frequencies as you might have with two mics at
different distances from the body.

Try sitting in or near a conrner, facing the center of the room.

Take an evening to experiment with setups, both for you and the mics.
You probably won't get it right the first time. Don't just set it like
someone tells you and go. Try something, listen, try something else,
listen again, figure out what sounds different, and which you like
better, then try another position.

I'll be recording three pieces on classical guitar, in my (untreated
14x17) master bedroom. I'm planning on using two small diaphragm
condensors (MXL 603s - supposedly matched), one about 6 inches away,
pointed at the body/neck join level to the body, and the other about
18 inches away and maybe 6 inches up. They'll be running into a
Lexicon Omega, connected to my DAW in another room.

Unless you're using them as a stereo pair, matching is hardly
relevant. You're TRYING to get different sounds from two different
placements. Some would say that completely differing microphones
would give more chance of getting something useful.

But do, as suggested, try micing in stereo. Mount the two mics as a
pair and experiment to find the sweet spot. Don't assume this will
necessarily be directly in front of the guitar, or at the same height
as the guitar. Does it sound good at your ears? Which way are THEY
pointing? Could you get the mic pair in a similar position? It's
worth a try.

I'm planning on using two small diaphragm
condensors (MXL 603s - supposedly matched), one about 6 inches away,
pointed at the body/neck join level to the body, and the other about
18 inches away and maybe 6 inches up.

For classical guitar this is extremely close. Although I don't agree
with the many classical guitarists I've worked with who want to mic
from at least 10 feet away, six inches is really going to constitute a
special effect-y recording. I would do an XY (or slightly modified
wider XY) at least 2 feet out, in order to obtain a blend of the
various areas of the soundboard, soundhole & a bit of surrounding
ambience.

Scott Fraser

Scott Fraser wrote:
For classical guitar this is extremely close.
[...]
I would do an XY (or slightly modified
wider XY) at least 2 feet out, in order to obtain a blend

And do something about the room (as described in OP). Even if it's just
stacking up some sofa cushions against a wall or in a corner, or hanging
some thick towelling or curtain material over something not too close to
the wall.

--
Anahata
-+- http://www.treewind.co.uk
Home: 01638 720444 Mob: 07976 263827

On Wed, 3 May 2006 02:35:38 -0400, jtougas wrote
(in article ):

Hi folks -

I've read through the archives, and I wanted to run past y'all what
I'm planning and see what you think.

I'll be recording three pieces on classical guitar, in my (untreated
14x17) master bedroom. I'm planning on using two small diaphragm
condensors (MXL 603s - supposedly matched), one about 6 inches away,
pointed at the body/neck join level to the body, and the other about
18 inches away and maybe 6 inches up. They'll be running into a
Lexicon Omega, connected to my DAW in another room.

I do have other mics available (mostly more MXL's, to be honest), but
based on what I've read here, it looks like the small diaphragms are
the better choice.

The room isn't very live, and I know I'll get some flutter echoes if
I'm not careful with volume and placement (parallel walls and a
vaulted ceiling).

The recording isn't for publication, it's to let the friend of mine
who built it and hasn't heard it have an idea of how it sounds, but I
want to do it as right as I can.

Thanks -

I wouldn't be happy with that room, those mics or that setup. YMMV.

Ty Ford




-- Ty Ford's equipment reviews, audio samples, rates and other audiocentric
stuff are at www.tyford.com

On Wed, 3 May 2006 16:15:19 -0400, Ty Ford
trained 100 monkeys to jump on the keyboard and write:

I wouldn't be happy with that room, those mics or that setup. YMMV.

Fine. Send me a new house, some boutique mics, and a new recording
setup. ;-)

The master bedroom's the best room I've got. It may not be perfect,
but at least it's got a kingsize bed at the other end of the room to
break up the bass. The next best one is the living room, which has
some serious flutter echoes in it. The other two rooms in the house
are 10x11, waay too close to square.

I can't afford to buy any better mics, unless you want to send me
some. The other mics I own are an SM58, 57, a few AKG D770s, a CAD KBM
412, a Samson C1, an MXL V67G, and an MXL V67 Mogami. Like I said,
basement.

As for the Lexicon, I've actually been pretty happy with the sound of
it, but this is going to be my first mic'd recording with it. I have
recorded my synth, my guitars, and my bass through it, though. The DI
in it sounds great, and it's feature set is good for the money.

Don't get me wrong, it's not the tier of equipment I'd like to be
running with, but you work with what you've got.

I'll post a link when I'm finished, for critique.
--
jtougas

"listen- there's a hell of a good universe next door
let's go" - e.e. cummings

On Wed, 3 May 2006 21:00:46 -0400, jtougas wrote
(in article ):

On Wed, 3 May 2006 16:15:19 -0400, Ty Ford
trained 100 monkeys to jump on the keyboard and write:

I wouldn't be happy with that room, those mics or that setup. YMMV.

Fine. Send me a new house, some boutique mics, and a new recording
setup. ;-)

The master bedroom's the best room I've got. It may not be perfect,
but at least it's got a kingsize bed at the other end of the room to
break up the bass. The next best one is the living room, which has
some serious flutter echoes in it. The other two rooms in the house
are 10x11, waay too close to square.

I can't afford to buy any better mics, unless you want to send me
some. The other mics I own are an SM58, 57, a few AKG D770s, a CAD KBM
412, a Samson C1, an MXL V67G, and an MXL V67 Mogami. Like I said,
basement.

As for the Lexicon, I've actually been pretty happy with the sound of
it, but this is going to be my first mic'd recording with it. I have
recorded my synth, my guitars, and my bass through it, though. The DI
in it sounds great, and it's feature set is good for the money.

Don't get me wrong, it's not the tier of equipment I'd like to be
running with, but you work with what you've got.

I'll post a link when I'm finished, for critique.


Don't be afraid to use ONE mic and put it 4-5 inches off where the neck joins
the body. If you get too much boom, go further up the neck.

Ty Ford


-- Ty Ford's equipment reviews, audio samples, rates and other audiocentric
stuff are at www.tyford.com

jtougas wrote:

Hi folks -

I've read through the archives, and I wanted to run past y'all what
I'm planning and see what you think.

I'll be recording three pieces on classical guitar, in my (untreated
14x17) master bedroom. I'm planning on using two small diaphragm
condensors (MXL 603s - supposedly matched), one about 6 inches away,
pointed at the body/neck join level to the body, and the other about
18 inches away and maybe 6 inches up. They'll be running into a
Lexicon Omega, connected to my DAW in another room.

I'd probably use an X/Y pair for this, pulling back enough to get the
whole guitar into the sonic picture, but not so far as to invite the
room all the way into the scene.

I do have other mics available (mostly more MXL's, to be honest), but
based on what I've read here, it looks like the small diaphragms are
the better choice.

The room isn't very live, and I know I'll get some flutter echoes if
I'm not careful with volume and placement (parallel walls and a
vaulted ceiling).

Have any gobos or any other something(s) you could use to baffle
somewhat how much of the room the mics hear? Sometimes apt placement of
such eliminates some particular echo or other unfortunate ambience.

--
ha
The recording isn't for publication, it's to let the friend of mine
who built it and hasn't heard it have an idea of how it sounds, but I
want to do it as right as I can.

Thanks -