What can you suggest about this live record from home concert, except some carpet is needed on the floor to damp resonances between floor and ceiling?
http://wavebourn.com/music/mihalev/mihalev_sample.mp3
http://wavebourn.com/music/mihalev/mihalev_sample.mp3
An externally hosted image should be here but it was not working when we last tested it.
I'd make the voice a bit more sparckling although I only listened through headphones. (Beyer DT990)
Most of all I like the language. A perfect match for melancholic songs like this.
/Hugo
Most of all I like the language. A perfect match for melancholic songs like this.
/Hugo
I played a bit with your song but have no means of posting the result here. Can I upload it somewhere or mail you?
/Hugo
/Hugo
1) Room treatments: Pictures off the wall and outta there. Close the drapes. Lamp and flower pot off the piano and into the next room. A stack pillows in that far corner ... Carpet, of course, plenty thick. Remove that table / amp stand and place the amp on a carpet or rug. Keep any stuffed chairs, throw pillows, soft objects in the room. Get a stool instead of that wooden chair. (Extreme: Close all the doors and cover them with carpeting.)
2) Tune the piano and move closer to the performer (free standing with clearence all around it). Open the piano keyboard. A well tuned piano makes a great resonance piece / a sounding board. This is what made it for Ray Charles = singing right into that piano ... (Hard objects on top of the piano will defeat this purpose = the flower pot, etc. above.)
3) Move the voice mic a little further away. Move the guitar mic a little further away. Set all the mic pre-amp gains to 0 db gain or less when the performer shouts his loudest (the loudest sound pressure level should not drive the mic(s) into distortion / over the red line). If the mic levels are not solid enough, the performer must project = make him stand up.
4) Record multiple tracks, guitar w/ no voice, voice w/ no guitar, mixed w/ voice dominant and mixed with guitar dominant ... then pass all tracks through Pro Tools (or what have you) and splice in the better tracks, stanza by stanza. ... Punch up those tracks that are anemic, defeat those that are offensive === tweak and tweak some more.
There can be more ...
2) Tune the piano and move closer to the performer (free standing with clearence all around it). Open the piano keyboard. A well tuned piano makes a great resonance piece / a sounding board. This is what made it for Ray Charles = singing right into that piano ... (Hard objects on top of the piano will defeat this purpose = the flower pot, etc. above.)
3) Move the voice mic a little further away. Move the guitar mic a little further away. Set all the mic pre-amp gains to 0 db gain or less when the performer shouts his loudest (the loudest sound pressure level should not drive the mic(s) into distortion / over the red line). If the mic levels are not solid enough, the performer must project = make him stand up.
4) Record multiple tracks, guitar w/ no voice, voice w/ no guitar, mixed w/ voice dominant and mixed with guitar dominant ... then pass all tracks through Pro Tools (or what have you) and splice in the better tracks, stanza by stanza. ... Punch up those tracks that are anemic, defeat those that are offensive === tweak and tweak some more.
There can be more ...
Thank you Fast Eddy, but I've asked about that particular record from live home concert, I did not ask for some "How-To Basics For Dummies" 😀
Do you have suggestions how to improve this particular record?
Do you have suggestions how to improve this particular record?
" ... I did not ask for some "How-To Basics For Dummies" ..."
'S OK ... I still might write a book about it ...
" ... suggestions how to improve this particular record? ..."
Load in into Pro Tools and tweak it ... 😀 ... Got both tracks, separate? or just the "last mix"?
'S OK ... I still might write a book about it ...
" ... suggestions how to improve this particular record? ..."
Load in into Pro Tools and tweak it ... 😀 ... Got both tracks, separate? or just the "last mix"?
FastEddy said:
Just the last mix.
I'm working now on edge of science and art. It is easy to record multichannel in studio environment then process/mix drinking cup of coffe, but it is a routine to produce dead results. My goal is to capture artists when they speak to public using the same mics, avare of them, and in emotional contact with a public.
My brother in law and his wife often capture in their house guests: both famous bards and their fans. Step by step I managed to put my acoustic dsamping panels in the room when they usually sing and speak.
I use modified MXL-770 mics and modified TOA RX-216 console with cheap ART reverberator. Mine tube amp (4x6l6 each channel) and mine line array speakers equalized by 31-band cheap Behringer equalizer.
Output from console goes directly to TASCAM US-122 connected to notebook.
Damping panels made of memory foam on veneer, covered by soft blankets.
I wish a room would be bigger so I could move speakers away from mics and mics away from the guy... I've convinced them already to put a carpet when new guest arrives, so I hope new record will be better.
Sound reinforcement is necessary. Also, some nice reverberation is needed instead of room resonnaces.
I've made speakers as flat as possible, also equalized the whole thing using Behringer EQ with feedback detection. It is a bit noisy when tuning, but much cheaper than spector analyzer. The first part of concert was recorded worse; somebody touched EQ so acoustic feedback amplified some resonances and I had to make some noises during the break, but after tuning the EQ that nightmare around 800 -900 Hz and 250 Hz gone.
Unfortunately Igor is not so young as when He used to sing his songs standing, but he is a great mature poet so I am proud I've captured one of his live concerts! This time he sang some new songs on his new poems.
I believe couple more of such concerts and I will be able to reinforce and live record simultaneously without compromises of both contradictory requirements.
" ... I use modified MXL-770 mics and modified TOA RX-216 console with cheap ART reverberator. Mine tube amp (4x6l6 each channel) and mine line array speakers equalized by 31-band cheap Behringer equalizer. Output from console goes directly to TASCAM US-122 connected to notebook.
" ... Step by step I managed to put my acoustic dsamping panels in the room when they usually sing and speak. Damping panels made of memory foam on veneer, covered by soft blankets. ..."
Good mics, good interface (US-122), a fair EQ (could use more filtration in the PS), mix board is not familiar to me, but then ...
Only Advise = go easy on the reverb and the EQ and keep the mics further away from the performer(s), relying on the pre-amp gain to get close to best level, which is usually better than 6 db down from the performers' loudest SPL level ... 😉
Absolutely the biggest mistake any recording performer makes is "eating the mic", pro or otherwsie.
" ... Step by step I managed to put my acoustic dsamping panels in the room when they usually sing and speak. Damping panels made of memory foam on veneer, covered by soft blankets. ..."
Good mics, good interface (US-122), a fair EQ (could use more filtration in the PS), mix board is not familiar to me, but then ...
Only Advise = go easy on the reverb and the EQ and keep the mics further away from the performer(s), relying on the pre-amp gain to get close to best level, which is usually better than 6 db down from the performers' loudest SPL level ... 😉
Absolutely the biggest mistake any recording performer makes is "eating the mic", pro or otherwsie.
FastEddy said:
It is not a mistake, it is the requirement to minimize acoustic feedback between speakers and mics through reflecting surfaces that highlight resonances. Also, when a band is playing, a singer have to eat the mic, that's why Shure SM-58 is so popular: it is eatable. 😎
Mike for guitar is too far, place it close to heel.
Mike for vocals is rather close, try a bit further or you get proximity effect.
Mike for vocals is rather close, try a bit further or you get proximity effect.
" ... It is not a mistake, it is the requirement to minimize acoustic feedback between speakers and mics through reflecting surfaces that highlight resonances. ..."
"Truth is one, paths are many ... " - The Dalia Lama.
1) Turn your monitor and PA speakers way, way down = lowers the feed back.
2) Aim the monitor speakers away from the performer & microphones = lowers the feed back.
3) I refer the gentleman to the answers I gave some moments ago = 🙄
..........
1) Room treatments: Pictures off the wall and outta there. Close the drapes. Lamp and flower pot off the piano and into the next room. A stack pillows in that far corner ... Carpet, of course, plenty thick. Remove that table / amp stand and place the amp on a carpet or rug. Keep any stuffed chairs, throw pillows, soft objects in the room. Get a stool instead of that wooden chair. (Extreme: Close all the doors and cover them with carpeting.)
2) Tune the piano and move closer to the performer (free standing with clearence all around it). Open the piano keyboard. A well tuned piano makes a great resonance piece / a sounding board. This is what made it for Ray Charles = singing right into that piano ... (Hard objects on top of the piano will defeat this purpose = the flower pot, etc. above.)
3) Move the voice mic a little further away. Move the guitar mic a little further away. Set all the mic pre-amp gains to 0 db gain or less when the performer shouts his loudest (the loudest sound pressure level should not drive the mic(s) into distortion / over the red line). If the mic levels are not solid enough, the performer must project = make him stand up.
4) Record multiple tracks, guitar w/ no voice, voice w/ no guitar, mixed w/ voice dominant and mixed with guitar dominant ... then pass all tracks through Pro Tools (or what have you) and splice in the better tracks, stanza by stanza. ... Punch up those tracks that are anemic, defeat those that are offensive === tweak and tweak some more.
There can be more ... Don't eat the mic ...
I have run significant stage performances and there are many ways to make microphones behave with high quality results ... a distant microphone is better than one close up = unless the singer / performer is actually interested in manipulation of the microphone as an instrument in its own right ... something that I have only seen successfully executed a very few times ... Muddy Waters is the only performer I ever heard who had his microphone under control = no distortion, perfect, controlled SPL output, no feed back. He always set the gain way, way down on the pre-amp, removed all but a minimum of equalization and when he punched it up for the high notes, that microphone was more than a meter from his face, 'cause he knew, he knew ... check out the DV video of "The Last Waltz" ... all professional stage performers working the mics well, then Muddy shows 'em how its done right ...
" ... I know that you are well theoretically educated..." = No, it is not theoretically at all ... I have worked in and around big dance halls since the mid-60's.
"Truth is one, paths are many ... " - The Dalia Lama.
1) Turn your monitor and PA speakers way, way down = lowers the feed back.
2) Aim the monitor speakers away from the performer & microphones = lowers the feed back.
3) I refer the gentleman to the answers I gave some moments ago = 🙄
..........
1) Room treatments: Pictures off the wall and outta there. Close the drapes. Lamp and flower pot off the piano and into the next room. A stack pillows in that far corner ... Carpet, of course, plenty thick. Remove that table / amp stand and place the amp on a carpet or rug. Keep any stuffed chairs, throw pillows, soft objects in the room. Get a stool instead of that wooden chair. (Extreme: Close all the doors and cover them with carpeting.)
2) Tune the piano and move closer to the performer (free standing with clearence all around it). Open the piano keyboard. A well tuned piano makes a great resonance piece / a sounding board. This is what made it for Ray Charles = singing right into that piano ... (Hard objects on top of the piano will defeat this purpose = the flower pot, etc. above.)
3) Move the voice mic a little further away. Move the guitar mic a little further away. Set all the mic pre-amp gains to 0 db gain or less when the performer shouts his loudest (the loudest sound pressure level should not drive the mic(s) into distortion / over the red line). If the mic levels are not solid enough, the performer must project = make him stand up.
4) Record multiple tracks, guitar w/ no voice, voice w/ no guitar, mixed w/ voice dominant and mixed with guitar dominant ... then pass all tracks through Pro Tools (or what have you) and splice in the better tracks, stanza by stanza. ... Punch up those tracks that are anemic, defeat those that are offensive === tweak and tweak some more.
There can be more ... Don't eat the mic ...
I have run significant stage performances and there are many ways to make microphones behave with high quality results ... a distant microphone is better than one close up = unless the singer / performer is actually interested in manipulation of the microphone as an instrument in its own right ... something that I have only seen successfully executed a very few times ... Muddy Waters is the only performer I ever heard who had his microphone under control = no distortion, perfect, controlled SPL output, no feed back. He always set the gain way, way down on the pre-amp, removed all but a minimum of equalization and when he punched it up for the high notes, that microphone was more than a meter from his face, 'cause he knew, he knew ... check out the DV video of "The Last Waltz" ... all professional stage performers working the mics well, then Muddy shows 'em how its done right ...
" ... I know that you are well theoretically educated..." = No, it is not theoretically at all ... I have worked in and around big dance halls since the mid-60's.
Thank you FastEddy. I know that you are well theoretically educated. It is the time to write a book. 😀
1. The owner of the house is proud of her paintings and no way she will remove them.
2. There are no drapes there. As you may see, there are my acoustic damping panels, 3 white (one on a window) and one blue (on the rear wall).
3. Speakers can't be moved anymore, the room is too small, and anyway it would not help much because the rest of walls is not treated.
4. "Easy on EQ": I totally disagree, because you did not read my post where I said I used the EQ to equalize everything flat, i.e. to remove impaqct of resonances.
Thanks anyway, a good try! 😉
1. The owner of the house is proud of her paintings and no way she will remove them.
2. There are no drapes there. As you may see, there are my acoustic damping panels, 3 white (one on a window) and one blue (on the rear wall).
3. Speakers can't be moved anymore, the room is too small, and anyway it would not help much because the rest of walls is not treated.
4. "Easy on EQ": I totally disagree, because you did not read my post where I said I used the EQ to equalize everything flat, i.e. to remove impaqct of resonances.
Thanks anyway, a good try! 😉
1. The owner of the house is proud of her paintings and no way she will remove them.
OK, just remove 'em for the "concert" ... they can't be seen on the recording anyway ... I do understand, this is not a real problem unless they are rattling against the walls ...
2. There are no drapes there. As you may see, there are my acoustic damping panels, 3 white (one on a window) and one blue (on the rear wall).
OK, add more panels ... That window (pictured) is a problem, located right behind the perforer = big reflection and probably the source of most of the feedback.
3. Speakers can't be moved anymore, the room is too small, and anyway it would not help much because the rest of walls is not treated.
Turn 'em off.
4. "Easy on EQ": I totally disagree, because you did not read my post where I said I used the EQ to equalize everything flat, i.e. to remove impaqct of resonances.
Fix 1, 2 & 3 above, then back off on the EQ.
OK, just remove 'em for the "concert" ... they can't be seen on the recording anyway ... I do understand, this is not a real problem unless they are rattling against the walls ...
2. There are no drapes there. As you may see, there are my acoustic damping panels, 3 white (one on a window) and one blue (on the rear wall).
OK, add more panels ... That window (pictured) is a problem, located right behind the perforer = big reflection and probably the source of most of the feedback.
3. Speakers can't be moved anymore, the room is too small, and anyway it would not help much because the rest of walls is not treated.
Turn 'em off.
4. "Easy on EQ": I totally disagree, because you did not read my post where I said I used the EQ to equalize everything flat, i.e. to remove impaqct of resonances.
Fix 1, 2 & 3 above, then back off on the EQ.
- Status
- Not open for further replies.