[Jonathan[_5_]]

I am looking for a microphone to record myself playing Bossa Nova
music on a classical guitar (with accompanying vocals).
Both the playing and singing is relatively low in volume (think João
Gilberto).
My budget is about $1000 and my room is untreated.
If it helps any, my preamp is a Sonar Power Studio.

I'm assuming I can get the job done with a single microphone once I
learn how to modulate the relative volumes of the guitar and vocals.
Is this correct, or would I be better off trying to mic the guitar and
vocals separately?

I'm not sure if I need a directional or omnidirectional mic for this
purpose.

Thanks,
Jonathan

[Mike Rivers]

Jonathan wrote:
I am looking for a microphone to record myself playing Bossa Nova
music on a classical guitar (with accompanying vocals).
Both the playing and singing is relatively low in volume (think João
Gilberto).
My budget is about $1000 and my room is untreated.

I'm assuming I can get the job done with a single microphone once I
learn how to modulate the relative volumes of the guitar and vocals.

That you can, but you'd be better off spending $900 to improve your room
sound and record it with a $100 omni mic than spend $1000 on a mic in a
room with problems.

--
If you e-mail me and it bounces, use your secret decoder ring and reach
me he
double-m-eleven-double-zero at yahoo -- I'm really Mike Rivers
)

[hank alrich]

Soundhaspriority wrote:

"Jonathan" wrote in message
...
I am looking for a microphone to record myself playing Bossa Nova
music on a classical guitar (with accompanying vocals).
Both the playing and singing is relatively low in volume (think João
Gilberto).
My budget is about $1000 and my room is untreated.
If it helps any, my preamp is a Sonar Power Studio.

I'm assuming I can get the job done with a single microphone once I
learn how to modulate the relative volumes of the guitar and vocals.
Is this correct, or would I be better off trying to mic the guitar and
vocals separately?

I'm not sure if I need a directional or omnidirectional mic for this
purpose.

Thanks,
Jonathan
--------------------------------------------------------------------------
Jonathan, I am not the expert, but I'm going to throw out some ideas that
might get the experts involved:

1. You should not record both instruments with a single directional mike,
because the off-axis response of directional microphones is never terrific.
A directional mike should be pointed at the subject.

I find that too stringently presented, Bob, with little regard for
setting and circumstance.

In fact, given a poor room and s single mic I will choose either
hpercardioid, like a Sennheiser MD441, or a Fig. 8 ribbon, like AEA's
R84. Judicious placement of baffling, which could be a stuffed chair or
two, can help tremendously. One can get good results with appropriately
selected directional mics in the situation presented, depending, of
course, on the balance of the two sources, vocal and guitar.

2. As Mike Rivers says, you can use a single omni, or perhaps even two, for
a stereo effect. Of course, you would have to have the control and
discipline to maintain the proper levels.

You can, but if in a bad room one often must place them too close to the
source to get a natural-sounding capture.

3. The most common technique is to use two or three directional mikes: one
or two on guitar, and one for voice. However, these mikes have to be chosen
very carefully, lest the off-axis bleed create an unpleasant sound. I've
tried more mike combinations that don't work than combinations that do.

In this case I don't see the money to do that.

4. For the ultimate in control, since this is a private recording session,
consider overdubbing. You'll get:

a. Two mikes for the price of one
b. Precise level control in post
c. No unpleasant off-axis bleed effects.

d. A complete loss of the sense of an integrated performance, which in
my book discounts a, b, and c.


--
ha
Iraq is Arabic for Vietnam

[Scott Dorsey]

Jonathan wrote:
I am looking for a microphone to record myself playing Bossa Nova
music on a classical guitar (with accompanying vocals).
Both the playing and singing is relatively low in volume (think Jo=E3o
Gilberto).
My budget is about $1000 and my room is untreated.
If it helps any, my preamp is a Sonar Power Studio.

What do you want it to sound like, and does it have to be stereo? And are
you willing to put some money into fixing the room?

I'm assuming I can get the job done with a single microphone once I
learn how to modulate the relative volumes of the guitar and vocals.
Is this correct, or would I be better off trying to mic the guitar and
vocals separately?

If the room is lousy, you might have to mike them both seperately. Listen
to the first Joan Baez recording, though, for a good example of what a
single microphone can do in a good room. It's mono, but it's very natural
and sounds like a real guitar and a real vocalist.

I'm not sure if I need a directional or omnidirectional mic for this
purpose.

My suggestion to you is that you buy the Behringer ECM-8000 microphone
for twenty bucks or so and try it. This is an omnidirectional microphone
that is very omnidirectional and pretty flat in the midrange. The top
end is harsh and it's awfully noisy, but it will give you a sense of what
you are in for, where your room problems are, and how to position the mike
for good balances.

THEN, once you have a sense of what you've got and what you need, spend
the money on a good microphone. My suspicion is that you will be happy
with something like the Josephson C4, or the Audio-Technica AT4051, or
maybe even the AT4033. But you need to first record yourself and get an
idea of placement, just how bad your room really is, and what you're
looking for tonally.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Ty Ford]

On Sat, 6 Sep 2008 09:27:52 -0400, Jonathan wrote
(in article
):

I am looking for a microphone to record myself playing Bossa Nova
music on a classical guitar (with accompanying vocals).
Both the playing and singing is relatively low in volume (think João
Gilberto).
My budget is about $1000 and my room is untreated.
If it helps any, my preamp is a Sonar Power Studio.

I'm assuming I can get the job done with a single microphone once I
learn how to modulate the relative volumes of the guitar and vocals.
Is this correct, or would I be better off trying to mic the guitar and
vocals separately?

I'm not sure if I need a directional or omnidirectional mic for this
purpose.

Thanks,
Jonathan

Jonathan,

Yes you can use one mic if, as you say, you pay close attention to your
singing and playing volumes.

I place an omni about nose or forehead high and angle it down to catch my
voice and the guitar.

I have an example of this technique using Wes Dooley's R84 ribbon mic and his
TRP preamp. It's a file up on my server called TheLetterTyFordH.mp3.

http://idisk.mac.com/tyreeford-Public?view=web

The figure of eight ribbon was positioned horizontally which seemed to give
me a slightly wider, more forgiving pattern than positioning the mic in the
more conventional vertical position. I added some reverb and a little gain
reduction. Remember, this is an mp3.

Especially for classical guitar, if you really hate plinky 1st and 2nd
strings, the R84 does a very smooth job. You can hear it doesn't have the HF
extension of a condenser, but the R84 sound is growing on me and I like it
over other ribbons I have or have heard.

I've used it on electric guitar amps. Even on youtube uploads I have shot and
edited here, I have been very pleased with the sound.

http://www.youtube.com/watch?v=-rFHwXWHpcA
http://www.youtube.com/watch?v=O8_DXkCeIjA

Sounds like you need to fix up your room first though.

Regards,

Ty Ford



--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=4RZJ9MptZmU

[hank alrich]

Soundhaspriority wrote:

"hank alrich" wrote in message
...
[snip]
In fact, given a poor room and s single mic I will choose either
hpercardioid, like a Sennheiser MD441, or a Fig. 8 ribbon, like AEA's
R84. Judicious placement of baffling, which could be a stuffed chair or
two, can help tremendously. One can get good results with appropriately
selected directional mics in the situation presented, depending, of
course, on the balance of the two sources, vocal and guitar.

Ah, good to know. What range of working distances for the above?

Room and source dependent.

Would you put the stuffed chair behind the figure-8?

Yes.

--
ha
Iraq is Arabic for Vietnam

[Roy W. Rising[_2_]]

Jonathan wrote:
I am looking for a microphone to record myself playing Bossa Nova
music on a classical guitar (with accompanying vocals).
Both the playing and singing is relatively low in volume (think Jo=E3o
Gilberto).
My budget is about $1000 and my room is untreated.
If it helps any, my preamp is a Sonar Power Studio.

I'm assuming I can get the job done with a single microphone once I
learn how to modulate the relative volumes of the guitar and vocals.
Is this correct, or would I be better off trying to mic the guitar and
vocals separately?

I'm not sure if I need a directional or omnidirectional mic for this
purpose.

Thanks,
Jonathan

I've recorded vocal/guitar with a single mic many, many times. The
advantage is total elimination of acoustical phase distortion resulting
from the mix of the sources reaching multiple mics at different times.
I've successfully used the supercardioids Beyer M-160 and EV RE15 for this
purpose.

The Beyer is costly and the EV no longer is made. I suggest a
used RE15, typically around $100 or less on eBay. The Beyer is much more
costly and rather fragile. The RE15 is flat off-axis, thus "hearing the
room" a little too well. The EV RE16 is an interesting option. It remains
available from EV, its windscreen assembly can be removed and replaced by a
simple foam pop filter, essentially resulting in a new RE15.

There are continuing discussions of room treatment. The main objective is
to absorb as much sound as possible. If the treatment is permanent, it
costs more to look good. Temporary absorptive materials can be cheap or
free but must be set up and put away.

--
~
~ Roy
"If you notice the sound, it's wrong!"

[Laurence Payne[_2_]]

On Sat, 6 Sep 2008 11:55:14 -0400, "Soundhaspriority"
wrote:

4. For the ultimate in control, since this is a private recording session,
consider overdubbing. You'll get:

a. Two mikes for the price of one
b. Precise level control in post
c. No unpleasant off-axis bleed effects.

Obviously not a musician :-)

[Jonathan[_5_]]

On Sep 6, 1:16*pm, (Scott Dorsey) wrote:

What do you want it to sound like, and does it have to be stereo? *

I'm not sure. Would stereo sound better for this application?

Assuming I wanted to record in stereo, what pair of microphones would
I need to get to equal or exceed the quality of a Zoom H2 or an Edirol
R-09 HR?

[Scott Dorsey]

Jonathan wrote:
On Sep 6, 1:16=A0pm, (Scott Dorsey) wrote:

What do you want it to sound like, and does it have to be stereo? =A0

I'm not sure. Would stereo sound better for this application?

Depends. I like stereo, but good mono beats bad stereo. It's a lot
easier to do this kind of thing in mono because you don't have to
worry so much about the stereo image wandering when you move your body
a fraction of an inch. And of course you only need one mike.

Assuming I wanted to record in stereo, what pair of microphones would
I need to get to equal or exceed the quality of a Zoom H2 or an Edirol
R-09 HR?

I don't know, I have not used either one. But I would have a tendency
to suggest avoiding a single-point configuration and spacing the mikes
out a bit... not as much as ORTF, but a little. How much depends on
how close the mikes are, and that depends on how live your room is.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Peter Larsen[_3_]]

Jonathan wrote:

On Sep 6, 1:16 pm, (Scott Dorsey) wrote:

What do you want it to sound like, and does it have to be stereo?

I'm not sure. Would stereo sound better for this application?

Assuming I wanted to record in stereo, what pair of microphones would
I need to get to equal or exceed the quality of a Zoom H2 or an Edirol
R-09 HR?

The only way to get stereo is to record it. Spaciousness and openness
generally only comes from using valid stereo pairs. You can fake them with
processing, but you need to know what to fake ... so you might as well start
sound recording with learning it properly.

The Zoom H2 is quite good and very usable, but it is not going to teach you
stereo recording because you are stuck with a fixed physical mic setup.

Imo for your field of use you should start with doing what Hank said and
then perhaps supplement with a pair of small membrane mxl's. A large one
close to mouth and another close to guitar and a distant small capsule pair
could be just right.

Do read the paper "The Stereophonic zoom", it saves you years of learning to
overcome what appears contra-intuitive about setting a mic pair up.

Mind your ears, beware of headphones ...

Kind regards

Peter Larsen

[Peter Larsen[_3_]]

Jonathan wrote:
On Sep 6, 1:16 pm, (Scott Dorsey) wrote:

What do you want it to sound like, and does it have to be stereo?

I'm not sure. Would stereo sound better for this application?

Assuming I wanted to record in stereo, what pair of microphones would
I need to get to equal or exceed the quality of a Zoom H2 or an Edirol
R-09 HR?

Note: my follow up to you was mainly aimed at another, similar thread and
might mislead you, depending on what kind of recordings you want to do. Too
much purism when recording in a living room will however lead to pristinely
clean living room sound.

Kind regards

Peter Larsen

[Jonathan[_5_]]

On Sep 6, 12:57*pm, (hank alrich) wrote:

In fact, given a poor room and s single mic I will choose either
hpercardioid, like a Sennheiser MD441, or a Fig. 8 ribbon, like AEA's
R84. Judicious placement of baffling, which could be a stuffed chair or
two, can help tremendously. One can get good results with appropriately
selected directional mics in the situation presented, depending, of
course, on the balance of the two sources, vocal and guitar.


Thanks for the advice, Hank!
The R84 looks pretty cool.

A few more questions if you don't mind...

Being new at this, I'm not really sure whether my room needs
acoustical treatment.
It's a bonus room over the garage, "L" shaped with some diagonal
surfaces that trace the contour of the roof, so I guess it probably
has some weird sound reflections, etc., but I don't know.
Should I try to close off the "wing" of the room I'm not recording in
with a curtain or something to prevent sound from getting in there?

What would I be listening for in my recordings to tell me that my room
needed treatment?
Is there a sample recording on the internet somewhere that illustrates
the artifacts introduced by a poorly treated room?

My recording studio is also my practice room, and I've got four
additional acoustic guitars on stands in there.
Is this going to adversely affect my recordings (do I need to put
these instruments in their cases while I'm recording)?

Thanks,
Jonathan

[Jonathan[_5_]]

On Sep 6, 1:21*pm, Ty Ford wrote:
On Sat, 6 Sep 2008 09:27:52 -0400, Jonathan wrote
(in article
):



I am looking for a microphone to record myself playing Bossa Nova
music on a classical guitar (with accompanying vocals).
Both the playing and singing is relatively low in volume (think João
Gilberto).
My budget is about $1000 and my room is untreated.
If it helps any, my preamp is a Sonar Power Studio.

I'm assuming I can get the job done with a single microphone once I
learn how to modulate the relative volumes of the guitar and vocals.
Is this correct, or would I be better off trying to mic the guitar and
vocals separately?

I'm not sure if I need a directional or omnidirectional mic for this
purpose.

Thanks,
Jonathan

Jonathan,

Yes you can use one mic if, as you say, you pay close attention to your
singing and playing volumes.

I place an omni about nose or forehead high and angle it down to catch my
voice and the guitar.

I have an example of this technique using Wes Dooley's R84 ribbon mic and his
TRP preamp. It's a file up on my server called TheLetterTyFordH.mp3.


Ty,

Thanks for the advice!
You're the second person to recommend the R84.
I assume this mic should work okay with my Sonar Power Studio.

When you say "I place an omni about nose or forehead high," are you
referring to the R84?
You wouldn't happen to have a picture of this setup (including you,
the microphone and the guitar), would you?

Thanks again,
Jonathan

[Scott Dorsey]

Peter Larsen wrote:

Note: my follow up to you was mainly aimed at another, similar thread and
might mislead you, depending on what kind of recordings you want to do. Too
much purism when recording in a living room will however lead to pristinely
clean living room sound.

Which sometimes is kind of nice. Witness the Asylum Street Spankers' first
album. It doesn't sound like a good room, but it sounds like a real one.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Nate Najar]

On Sep 7, 10:35*am, (Scott Dorsey) wrote:
Peter Larsen wrote:

Note: my follow up to you was mainly aimed at another, similar thread and
might mislead you, depending on what kind of recordings you want to do. Too
much purism when recording in a living room will however lead to pristinely
clean living room sound.

Which sometimes is kind of nice. *Witness the Asylum Street Spankers' first
album. *It doesn't sound like a good room, but it sounds like a real one.
--scott
--
"C'est un Nagra. *C'est suisse, et tres, tres precis."

yeah my living room doesn't sound half bad for a reasonably close
mic'd solo nylon string guitar. it's a box, but at least it's a long
box and the guitar of course isn't very loud. problem is i can't just
sit down and record, i have to run a snake and get out stands, etc....
my little music room/project studio, OTOH sounds terrible to record
in. when i finally sell this place and move, whatever my new music
room is will be treated properly so as to allow decent mixing AND
recording of my guitar in the room and not sound like a small room.

N

[Ty Ford]

On Sun, 7 Sep 2008 09:41:29 -0400, Jonathan wrote
(in article
):

Ty,

Thanks for the advice!
You're the second person to recommend the R84.
I assume this mic should work okay with my Sonar Power Studio.

When you say "I place an omni about nose or forehead high," are you
referring to the R84?
You wouldn't happen to have a picture of this setup (including you,
the microphone and the guitar), would you?

Thanks again,
Jonathan

Jonathan,

I don't know anything about Sonar Power Studio. What I do know is that the
TRP (The Ribbon Preamp) Wes sells is tricked out to provide very clean gain
for ribbon mics. Your preamps may or may not have that much clean gain.

If you used the R84 in front of a guitar amp, gain would not be a problem.
The quieter the sources and the more preamp gain you need, the more important
quiet gain becomes.

No pictures and the position would change depending on singing and playing
volume. Yes I was referring to the omni, but the R84 ended up in about the
same place. A bit farther back, like 16" - 18", and not quite so high.

You have to adjust the mic until you get the right balance of voice and
guitar, then pay attention to your performing levels.

Regards,

Ty Ford


--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=4RZJ9MptZmU

[hank alrich]

Jonathan wrote:

On Sep 6, 12:57 pm, (hank alrich) wrote:

In fact, given a poor room and s single mic I will choose either
hpercardioid, like a Sennheiser MD441, or a Fig. 8 ribbon, like AEA's
R84. Judicious placement of baffling, which could be a stuffed chair or
two, can help tremendously. One can get good results with appropriately
selected directional mics in the situation presented, depending, of
course, on the balance of the two sources, vocal and guitar.


Thanks for the advice, Hank!
The R84 looks pretty cool.

A few more questions if you don't mind...

Being new at this, I'm not really sure whether my room needs
acoustical treatment.

Almost every room needs some kind of treatment. Small, weirdly-shaped
highly reflective rooms need it badly.

There is a wealth of information about room treatment at these two
sites:

http://www.realtraps.com

http://ethanwiner.com

Note that while Ethan is the proprietor of RealTraps, he also offers at
his site plans for DIY traps. He is also a regular and valuable
contributor to this newsgroup.

It's a bonus room over the garage, "L" shaped with some diagonal
surfaces that trace the contour of the roof, so I guess it probably
has some weird sound reflections, etc., but I don't know.

Your guess is correct.

Should I try to close off the "wing" of the room I'm not recording in
with a curtain or something to prevent sound from getting in there?

Curtain makes little difference unless it is the very heavy type used in
theaters. Without knowing how you intend to position yourself and the
mic(s) in the room I can't sensibly suggest you do or do not bother with
closing off the wing. I suspect there are other more significant
problems to be dealt with before worrying about that one.

What are the approximate dimensions of the room?

What would I be listening for in my recordings to tell me that my room
needed treatment?

Small live rooms reflect way too much sound way too soon back into the
mics. The overall effect depends on dimensions and surfaces, but in
general the result is an unfortunate destruction of the purity of the
original signal, whether it's a pristine acosutic instrument, or a
raging punker electric guitar.

The goal of traps, with the better ones offering both absorption and
diffusion, is to make the room appear larger by reducing the level of
early reflections. Often in small rooms all the reflections are early,
so it is very difficult to achieve a natural sounding ambience. Then a
lot of broadband absorption helps.

Is there a sample recording on the internet somewhere that illustrates
the artifacts introduced by a poorly treated room?

I don't know. But that's a great idea and I can't think of anyone better
positioned to offer that than Ethan.

My recording studio is also my practice room, and I've got four
additional acoustic guitars on stands in there.
Is this going to adversely affect my recordings (do I need to put
these instruments in their cases while I'm recording)?

If you get the room to the point that you can hear them resonating
off-set, so to speak, then you could decide what to do about it. Just
damping the strings with a cloth might be sufficient. However, having
them in there now might offer a subtle parameter by which to observe the
performance of the room. If you get it to the point that you can hear
them resonating in the background your room will be in pretty good
shape.

--
ha
Iraq is Arabic for Vietnam

[Arny Krueger]

"Jonathan" wrote in message

On Sep 6, 1:16 pm, (Scott Dorsey) wrote:

What do you want it to sound like, and does it have to
be stereo?

I'm not sure. Would stereo sound better for this
application?

Assuming I wanted to record in stereo, what pair of
microphones would I need to get to equal or exceed the
quality of a Zoom H2 or an Edirol R-09 HR?

Two Niants or two ECM-8000.

They may even use the same mic cartridge, but you have the opportunity for
better sound because you have nearly complete freedom of placement.

BTW let me remind you of Mike River's sage advice about room treatment. If
you're going to spend a $grand, you need to already have a room with great
acoustics to justify spending all that money on mics that expensive.

[hank alrich]

Arny Krueger wrote:

"Jonathan" wrote in message

On Sep 6, 1:16 pm, (Scott Dorsey) wrote:

What do you want it to sound like, and does it have to
be stereo?

I'm not sure. Would stereo sound better for this
application?

Assuming I wanted to record in stereo, what pair of
microphones would I need to get to equal or exceed the
quality of a Zoom H2 or an Edirol R-09 HR?

Two Niants or two ECM-8000.

They may even use the same mic cartridge, but you have the opportunity for
better sound because you have nearly complete freedom of placement.

BTW let me remind you of Mike River's sage advice about room treatment. If
you're going to spend a $grand, you need to already have a room with great
acoustics to justify spending all that money on mics that expensive.

And if one cannot afford to treat the whole room, portable baffles that
can be strategically placed can also make a world of difference, once
one has learned where to put them to clean up a localized audio
microclimate.

McQuilken is a master of that.

--
ha
Iraq is Arabic for Vietnam

[Jonathan[_5_]]

On Sep 7, 12:48*pm, (hank alrich) wrote:
Jonathan wrote:
On Sep 6, 12:57 pm, (hank alrich) wrote:

In fact, given a poor room and s single mic I will choose either
hpercardioid, like a Sennheiser MD441, or a Fig. 8 ribbon, like AEA's
R84. Judicious placement of baffling, which could be a stuffed chair or
two, can help tremendously. One can get good results with appropriately
selected directional mics in the situation presented, depending, of
course, on the balance of the two sources, vocal and guitar.

Thanks for the advice, Hank!
The R84 looks pretty cool.

A few more questions if you don't mind...

Being new at this, I'm not really sure whether my room needs
acoustical treatment.

Almost every room needs some kind of treatment. Small, weirdly-shaped
highly reflective rooms need it badly.

There is a wealth of information about room treatment at these two
sites:

http://www.realtraps.com

http://ethanwiner.com

Note that while Ethan is the proprietor of RealTraps, he also offers at
his site plans for DIY traps. He is also a regular and valuable
contributor to this newsgroup.

It's a bonus room over the garage, "L" shaped with some diagonal
surfaces that trace the contour of the roof, so I guess it probably
has some weird sound reflections, etc., but I don't know.

Your guess is correct.

Should I try to close off the "wing" of the room I'm not recording in
with a curtain or something to prevent sound from getting in there?

Curtain makes little difference unless it is the very heavy type used in
theaters. Without knowing how you intend to position yourself and the
mic(s) in the room I can't sensibly suggest you do or do not bother with
closing off the wing. I suspect there are other more significant
problems to be dealt with before worrying about that one.

What are the approximate dimensions of the room?

What would I be listening for in my recordings to tell me that my room
needed treatment?

Small live rooms reflect way too much sound way too soon back into the
mics. The overall effect depends on dimensions and surfaces, but in
general the result is an unfortunate destruction of the purity of the
original signal, whether it's a pristine acosutic instrument, or a
raging punker electric guitar.

The goal of traps, with the better ones offering both absorption and
diffusion, is to make the room appear larger by reducing the level of
early reflections. Often in small rooms all the reflections are early,
so it is very difficult to achieve a natural sounding ambience. Then a
lot of broadband absorption helps.

Is there a sample recording on the internet somewhere that illustrates
the artifacts introduced by a poorly treated room?

I don't know. But that's a great idea and I can't think of anyone better
positioned to offer that than Ethan.

My recording studio is also my practice room, and I've got four
additional acoustic guitars on stands in there.
Is this going to adversely affect my recordings (do I need to put
these instruments in their cases while I'm recording)?

If you get the room to the point that you can hear them resonating
off-set, so to speak, then you could decide what to do about it. Just
damping the strings with a cloth might be sufficient. However, having
them in there now might offer a subtle parameter by which to observe the
performance of the room. If you get it to the point that you can hear
them resonating in the background your room will be in pretty good
shape.

--
ha
Iraq is Arabic for Vietnam

Hank,

I have read the information on Ethan Winer's site on how to treat a
room, and I am a little overwhelmed with all the information

Assuming I choose to record the vocals and guitar into the same
microphone,
do you think this might be a "quick and dirty" solution:

http://www.realtraps.com/p_pvb.htm

I assume if I sing and play directly into this gizmo, I'm killing the
"first reflection point," right?
Is it possible that that would do the trick?
Again, both the vocals and guitar playing will both be very soft.

Thanks,
Jonathan