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#1
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Request for comments
Hi folks,
here are some recordings I've made in my square little homerecording studio. I'd be very about some comments on the sound: http://www.borislau.de/audio/roon Obviously, a nicer and bigger room would have been better. But this is what I've got. The guitar pickup is mixed pretty loud. I would have preferred more of the mic signal (AT4050) for a more acoustic sound, but the band liked this better. The rest is recorded with KM184s. Especially I'm interested on advice for EQing the highs (more/less?), and the limiting (is it too much?). Overall, couple of weeks later, I find the sound thin and lacking some warmth, comparing to the live experience. Thanks in advance, Boris -- http://www.borislau.de - computer science, music, photos |
#2
Posted to rec.audio.pro
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Request for comments
Boris Lau wrote:
Hi folks, here are some recordings I've made in my square little home recording studio. I'd be very about some comments on the sound: http://www.borislau.de/audio/roon Obviously, a nicer and bigger room would have been better. But this is what I've got. The guitar pickup is mixed pretty loud. I would have preferred more of the mic signal (AT4050) for a more acoustic sound, but the band liked this better. The rest is recorded with KM184s. Especially I'm interested on advice for EQing the highs (more/less?), and the limiting (is it too much?). Overall, couple of weeks later, I find the sound thin and lacking some warmth, comparing to the live experience. Thanks in advance, Boris Boris ~ I once lived with a woman who was a very good cook. Whenever she served a meal she pointed out all the things about it that disappointed her. Most of those things were in her own mind, but the proclamations diminished my own enjoyment. When you offer materials for comment, try to be more mute about them. It is Sunday evening in Los Angeles, and the internet running quite slowly. I was able to audition part of Stormy Blues and Gone Fishing. First impression: nice sound! Stormy Blues seemed to have something of a "hole" between the guitar and the flute. More guitar might not have helped. With Gone Fishing, the flute in a lower register filled the hole. Perhaps for recordings (as opposed to live performance) those tunes with the flute in the upper octaves would benefit from an overdub of either the flute or the guitar filling that register. I did not notice any problems with the room, the EQ or the dynamics. The "warmth" you feel lacking likely is the same thing I call a "hole". There is some room for more of the bass fundamentals. Overall, however, it is not at all "thin". -- ~ ~ Roy "If you notice the sound, it's wrong!" |
#3
Posted to rec.audio.pro
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Request for comments
Hi there,
thanks a lot for your comments! Roy W. Rising wrote: When you offer materials for comment, try to be more mute about them. alright, I'll try I was able to audition part of Stormy Blues and Gone Fishing. First impression: nice sound! Stormy Blues seemed to have something of a "hole" between the guitar and the flute. More guitar might not have helped. With Gone Fishing, the flute in a lower register filled the hole. Perhaps for recordings (as opposed to live performance) those tunes with the flute in the upper octaves would benefit from an overdub of either the flute or the guitar filling that register. I guess we're talking about the same thing. To my ears it was better with more guitar mic and less pickup - the latter sounding more percussive, which is also nice, the former sounding more like wood. Overdub of the guitar is an interesting idea which didn't come to my mind at all. I'll consider it next time. Thanks again, Boris |
#4
Posted to rec.audio.pro
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Request for comments
Boris Lau wrote:
Hi there, It is too hot and I'm too busy, I'll get back to you later .... Kind regards Peter Larsen |
#5
Posted to rec.audio.pro
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Request for comments
Boris Lau wrote:
Hi folks, here are some recordings I've made in my square little homerecording studio. I'd be very about some comments on the sound: http://www.borislau.de/audio/roon Obviously, a nicer and bigger room would have been better. But this is what I've got. The guitar pickup is mixed pretty loud. I would have preferred more of the mic signal (AT4050) for a more acoustic sound, but the band liked this better. The rest is recorded with KM184s. Especially I'm interested on advice for EQing the highs (more/less?), and the limiting (is it too much?). Overall, couple of weeks later, I find the sound thin and lacking some warmth, comparing to the live experience. Thanks in advance, Boris Like Roy said: '...There is some room for more of the bass fundamentals.' |
#6
Posted to rec.audio.pro
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Request for comments
Doug Lauber wrote:
here are some recordings I've made in my square little homerecording studio. I'd be very about some comments on the sound: '...There is some room for more of the bass fundamentals.' Erm, yees, but also for rethinking the way the stereo image works. I haven't had time to be thorough, but overall I miss a stable center image as well as a spatial strategy with regards to ambience/reverb. What I dislike is that instruments is placed outermost in the panorama, I want the ambience to have that space so that it fits the image of a band on a stage. Was an ambience pair recorded? EQ'ing tracks is not high on the list of "to do's", but gentle assertive track compression may be a wiser choice than limiting the mix. Also because the crest factor gets wrong when close miking anyway. Upper bass is loose but I don't know whether it is a mix issue or a track eq issue. What I would do first if asked to "do things" to this mix result would be to sum the low end to mono "vinyl style" to tighten up the image. Nugen Audio has something called "monofilter", it is designed to do just that. Kind regards Peter Larsen |
#7
Posted to rec.audio.pro
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Request for comments
Roy W. Rising wrote:
It is Sunday evening in Los Angeles, and the internet running quite slowly. I was able to audition part of Stormy Blues and Gone Fishing. First impression: nice sound! Stormy Blues seemed to have something of a "hole" between the guitar and the flute. See my comments on spatial strategy. To some extent I think it is a matter of panning things to where they were not positioned in the physical panorama. Kind regards Peter Larsen |
#8
Posted to rec.audio.pro
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Request for comments
Hi Peter,
Peter Larsen wrote: Erm, yees, but also for rethinking the way the stereo image works. I haven't had time to be thorough, but overall I miss a stable center image as well as a spatial strategy with regards to ambience/reverb. What I dislike is that instruments is placed outermost in the panorama, I want the ambience to have that space so that it fits the image of a band on a stage. Was an ambience pair recorded? The mics were roughly a meter away from the instruments. The only real ambience mic I have is an omni in the middle, maybe more of that would help the stable center you're missing. EQ'ing tracks is not high on the list of "to do's", but gentle assertive track compression may be a wiser choice than limiting the mix. Also because the crest factor gets wrong when close miking anyway. I have used a lot of automation on the track levels instead of a slow compressor. But probably you're right, and an additional (fast) compressor would be better than the stereo-limiter, especially because it would be pre-reverb. Upper bass is loose What do you mean by 'loose'? but I don't know whether it is a mix issue or a track eq issue. What I would do first if asked to "do things" to this mix result would be to sum the low end to mono "vinyl style" to tighten up the image. Hm. The only instruments providing low end here is the guitar and the drum, and both are in the center already, or am I missing something here? Thanks for your advice, Boris |
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