OP
ibmorjamn
Ambassador of Moar Jammin
I highly doubt I have a song going to any radio. Lmao
Recording , Tricks , Shortcuts and Clarity
- Thread starter ibmorjamn
- Start date
OP
ibmorjamn
Ambassador of Moar Jammin
Drum tracks can be cumbersome. The beat is on 1 and 4.
It is a pita.
On the mic , look up GLS Audio ES-57.
I think I got it on Amazon.
Drum tracks can be cumbersome. The thing is beats on 1 and 4.
It is a pita.
On the mic , look up GLS Audio ES-57.
GLS Audio
GLS Audio is your best source for high quality audio cables, microphones, and accessories.
www.amazon.com
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OP
ibmorjamn
Ambassador of Moar Jammin
Great songs and recording . Just heard a little on the my phone. I need listen on my monitors.
Headache
Ambassador of all that is Heavy
Here's the super cheap setup that I use:
Shure SM57 $70
reverb.com
Focusrite for $60
Shure SM57 $70
Shure SM57 Cardioid Dynamic Microphone | Reverb
A snare crack. An arpeggiated chord. A powerful saxophone solo. Whether on stage or in the studio, the notes that flow from your instrument connects your audience on a visceral level. And such sounds need a mic that can handle its strength. For every acoustic condition, the SM57 delivers the powe...
reverb.com
Focusrite for $60
Headache
Ambassador of all that is Heavy
Through trial an error ...and watching a hundred YouTube videos from sound engineers across the globe, I have learned that real trick to recording is getting the "recorded sound" to sound like you want to hear it.... It's often quite a bit different than the best sound you make from your amp in the room.
There is a magical thing that happens when a mic is set in front of a speaker, the little minute movements, placements, and angles and EQ settings have to be captured and then turned into what you think is right.
I have learned a couple little tricks to make my Post Processing so much easier and eliminate most of the tedious clicking and clicking and tweaking to get the tones I want to hear.
There is a magical thing that happens when a mic is set in front of a speaker, the little minute movements, placements, and angles and EQ settings have to be captured and then turned into what you think is right.
I have learned a couple little tricks to make my Post Processing so much easier and eliminate most of the tedious clicking and clicking and tweaking to get the tones I want to hear.
OP
ibmorjamn
Ambassador of Moar Jammin
That is a very good statement and not as vague as some are. Learning the steps and setting up to get that perceived recorded speaker sound has got to be a key fundamental .
I have come a long way but it is always a challenge.
I have so many gizmos now I never had before and those multiple choices do cloud the outcome.
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OP
ibmorjamn
Ambassador of Moar Jammin
The GLS is a very good mic also. Great alternative on a budget.Here's the super cheap setup that I use:
Shure SM57 $70
Shure SM57 Cardioid Dynamic Microphone | Reverb
A snare crack. An arpeggiated chord. A powerful saxophone solo. Whether on stage or in the studio, the notes that flow from your instrument connects your audience on a visceral level. And such sounds need a mic that can handle its strength. For every acoustic condition, the SM57 delivers the powe...
Focusrite for $60
I’ve been through my share of budget mic’s over the years, and still have a bunch of odds and ends kicking around here. I’m heading down to the studio for some cleanup chores in a bit. Gotta record something for the Riff-Masters thing…maybe I’ll post a pic of my junk later
, for clarity.Different mic’s (like your GLS) can impart their own flavors over recordings…sometimes good….sometimes…maybe not so good.
Traditional mic choices are usually pretty stable in their results. I’m certainly no 57 fanboy, but I have one kicking around the mic locker. For me, it mostly belongs under a snare drum. That’s most probably due to my personal taste, and lack of patience in finding a proper placement. Since I don’t communicate spacial coordinates well, I generally avoid trying to explain these matters in any detailed way. Generally, closer placement to the sound source enhances “proximity effect” of a common cardioid mic. Speakers project sound frequencies differently over their physical space. So…close vs far, and center vs rim, both interact with what the mic in use transfers to the preamp. The preamp may then impart some “personality”(see your mojo knob), if it has any, on the signal as it moves on to the next stage(eq, compression)…and so on. So…lots of factors may, or may not, have an impact on exactly “what” gets “put to tape”(or “captured”).
Your latest posted recordings seem to show that you are making progress in this process.
Having tried a bit of both schools over the years, I feel that a lot of the “traditionally” used mic’s do stand out from the crowd of imitators. I’ve put off using some of the more popular mic’s in favor of other choices, and upon acquisition of some of these more traditional mic choices…I usually find that they’re quite good tools…even the 57
….sometimes.@Headache ‘s prodigious riff presentations pushed me to finally try out a Sennheiser e609, and I’m still thankful for doing so.
@BFT Gibson ‘s use of the MXL DX2 convinced me to give it a try…turns out it’s not just affordable, but pretty darned versatile too…covers a lot of ground pretty well, for the relatively low price.
There are lots of tools out there to explore, and exploit. Some are cheap, and some are not. Some are versatile, and some may seem to be “one trick ponies”.
I’m not going to tell anyone “exactly what magical pixie stick” to use to make the recordings they want to make…I don’t think anyone here is…learn to use your chosen supply of stuff…or learn from the available resources here….and there.
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BFT Gibson
Ambassador of Originality
Thats cool man. I actually have adopted the DX2 & R144 as part of "my sound" with the GAP73 & JoeMeek 6q preamps.I’ve been through my share of budget mic’s over the years, and still have a bunch of odds and ends kicking around here. I’m heading down to the studio for some cleanup chores in a bit. Gotta record something for the Riff-Masters thing…maybe I’ll post a pic of my junk later
Different mic’s (like your GLS) can impart their own flavors over recordings…sometimes good….sometimes…maybe not so good.
Traditional mic choices are usually pretty stable in their results. I’m certainly no 57 fanboy, but I have one kicking around the mic locker. For me, it mostly belongs under a snare drum. That’s most probably due to my personal taste, and lack of patience in finding a proper placement. Since I don’t communicate spacial coordinates well, I generally avoid trying to explain these matters in any detailed way. Generally, closer placement to the sound source enhances “proximity effect” of a common cardioid mic. Speakers project sound frequencies differently over their physical space. So…close vs far, and center vs rim, both interact with what the mic in use transfers to the preamp. The preamp may then impart some “personality”(see your mojo knob), if it has any, on the signal as it moves on to the next stage(eq, compression)…and so on. So…lots of factors may, or may not, have an impact on exactly “what” gets “put to tape”(or “captured”).
Your latest posted recordings seem to show that you are making progress in this process.
Having tried a bit of both schools over the years, I feel that a lot of the “traditionally” used mic’s do stand out from the crowd of imitators. I’ve put off using some of the more popular mic’s in favor of other choices, and upon acquisition of some of these more traditional mic choices…I usually find that they’re quite good tools…even the 57
@Headache ‘s prodigious riff presentations pushed me to finally try out a Sennheiser e609, and I’m still thankful for doing so.
@BFT Gibson ‘s use of the MXL DX2 convinced me to give it a try…turns out it’s not just affordable, but pretty darned versatile too…covers a lot of ground pretty well, for the relatively low price.
There are lots of tools out there to explore, and exploit. Some are cheap, and some are not. Some are versatile, and some may seem to be “one trick ponies”.
I’m not going to tell anyone “exactly what magical pixie stick” to use to make the recordings they want to make…I don’t think anyone here is…learn to use your chosen supply of stuff…or learn from the available resources here….and there.
When i first took the dive into recording & always being on 57's in the studio we recorded at. Wasn't hearing "my" tone, was hearing a 57 shelving things in a way but that is their unique thing & it does it well. But i wanted to have a 57 without the harshness & ribbon for depth,
Every single recording ever since(been a few---few hundred lol) its DX2 on edge of cone & ribbon on 45 out a hair from cone. very predictable from cab to cab & goes into preamp without much post capture EQ necessary. Mics & preamp selection is HUGE in the tonal equation !!
Alright then…I’m sure I’m missing a few things here, but this is what’s easily found kicking around the mic trunk…
Packed in tightly…let’s rifle through this, and rummage around the room…see what junk hides in the rust and dust…
Wow….there’s no easy way for me to capture everything in a good light…mostly because it’s a mess…like me.
Off the top of my head, there’s a bunch of shizz displayed here. Some pretty cool, and some “junk”.
I know that there’s more hidden about…but hey…My SM7b is mounted on a boom by the recording desk. I’m happy with it there, so it stayed out of the pic.
This is most of the mic stuff I’ve used to record, and/or gig out with, over the years.
Laying on the upper right corner of the trunk lid is a pile of old Peavey hi-Z mic’s, and a couple of Realistic hi-Z boundary mic’s(there’s a third boundary, with an “altered” plate, inside my Cajon right now…not gonna dig it out for the photo op). Also, low and left of center, its gooseneck mounted to a piece of plywood, is an old Shure Hi-Z mic.
There’s more packed away in a wooden barrel, but it’s not easily accessible right now…that stuff goes back to 80s through 90s…mostly Radio Shack stuff, and beat up no-name stuff.
Now I’ve got to pack it away again…most of it.
Hope you’ve enjoyed…feel free to ask about anything pictured.
Packed in tightly…let’s rifle through this, and rummage around the room…see what junk hides in the rust and dust…
Wow….there’s no easy way for me to capture everything in a good light…mostly because it’s a mess…like me.
Off the top of my head, there’s a bunch of shizz displayed here. Some pretty cool, and some “junk”.
I know that there’s more hidden about…but hey…My SM7b is mounted on a boom by the recording desk. I’m happy with it there, so it stayed out of the pic.
This is most of the mic stuff I’ve used to record, and/or gig out with, over the years.
Laying on the upper right corner of the trunk lid is a pile of old Peavey hi-Z mic’s, and a couple of Realistic hi-Z boundary mic’s(there’s a third boundary, with an “altered” plate, inside my Cajon right now…not gonna dig it out for the photo op). Also, low and left of center, its gooseneck mounted to a piece of plywood, is an old Shure Hi-Z mic.
There’s more packed away in a wooden barrel, but it’s not easily accessible right now…that stuff goes back to 80s through 90s…mostly Radio Shack stuff, and beat up no-name stuff.
Now I’ve got to pack it away again…most of it.
Hope you’ve enjoyed…feel free to ask about anything pictured.
C-Grin
Ambassador of Wonderland
Holy cow
67plexi
Ambassador of Amps
For guitar and vocals I use condenser mic's AKG and Blue 300's recording
I would have never gone with the AKG's condenser's but was a gift from a rich girl friend
did use a AKG D3700 tri power for live vocals Keith our sound man had me get a pair of Sennheiser 906 for my live guitar amps
set of Audix for drums and have Sure SM58 and SM57 for others to use AKG mic stands
I would have never gone with the AKG's condenser's but was a gift from a rich girl friend
did use a AKG D3700 tri power for live vocals Keith our sound man had me get a pair of Sennheiser 906 for my live guitar amps
set of Audix for drums and have Sure SM58 and SM57 for others to use AKG mic stands
OP
ibmorjamn
Ambassador of Moar Jammin
Thanks DonthatBastard. LolI’ve been through my share of budget mic’s over the years, and still have a bunch of odds and ends kicking around here. I’m heading down to the studio for some cleanup chores in a bit. Gotta record something for the Riff-Masters thing…maybe I’ll post a pic of my junk later
Different mic’s (like your GLS) can impart their own flavors over recordings…sometimes good….sometimes…maybe not so good.
Traditional mic choices are usually pretty stable in their results. I’m certainly no 57 fanboy, but I have one kicking around the mic locker. For me, it mostly belongs under a snare drum. That’s most probably due to my personal taste, and lack of patience in finding a proper placement. Since I don’t communicate spacial coordinates well, I generally avoid trying to explain these matters in any detailed way. Generally, closer placement to the sound source enhances “proximity effect” of a common cardioid mic. Speakers project sound frequencies differently over their physical space. So…close vs far, and center vs rim, both interact with what the mic in use transfers to the preamp. The preamp may then impart some “personality”(see your mojo knob), if it has any, on the signal as it moves on to the next stage(eq, compression)…and so on. So…lots of factors may, or may not, have an impact on exactly “what” gets “put to tape”(or “captured”).
Your latest posted recordings seem to show that you are making progress in this process.
Having tried a bit of both schools over the years, I feel that a lot of the “traditionally” used mic’s do stand out from the crowd of imitators. I’ve put off using some of the more popular mic’s in favor of other choices, and upon acquisition of some of these more traditional mic choices…I usually find that they’re quite good tools…even the 57
@Headache ‘s prodigious riff presentations pushed me to finally try out a Sennheiser e609, and I’m still thankful for doing so.
@BFT Gibson ‘s use of the MXL DX2 convinced me to give it a try…turns out it’s not just affordable, but pretty darned versatile too…covers a lot of ground pretty well, for the relatively low price.
There are lots of tools out there to explore, and exploit. Some are cheap, and some are not. Some are versatile, and some may seem to be “one trick ponies”.
I’m not going to tell anyone “exactly what magical pixie stick” to use to make the recordings they want to make…I don’t think anyone here is…learn to use your chosen supply of stuff…or learn from the available resources here….and there.
I am not very fond of the 57 either but is commonly use. I never use it on a cab sim.
I had been using different mics .
I tried using the preamp with guitar today.
It seems to work well but you have to use it sparingly or gets wild.