StefanL

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About StefanL

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  • Birthday 01/01/1
  1. I did a project last year with mic'ing techiniques for acoustic guitar and with my Taylor CE 512 I found that an XY configuration with two Neumann KM 184's about 15 cm away and over the 14th fret seemed to work well. Since then I have use the same technique with the same guitar and discovered that if I also DI the guitar and mix in this track with the two XY mic's I get a really nice sound. The XY mic's get a nice natural sound although they didn't quite capture the true sound of the guitar, but with the DI track as well this gives it a slight harsh brightness that the mic's were lacking (the mic's sounded a little distant and lacked the harsher edge to the sound that I wanted - especially as the guitar is used in an alternative rock track with lots of instruments). That's my 5 cents (even though you were talking about distant mic'ing ).
  2. Returning to the KRK's I bought some KRK Rokit 5's earlier this year and I am quite happy with them for the price (I'm a student and don't have big $). I brought in a CD to the store (I played U2's Bullet the blue sky which has a lot of bass and high frequencies) and compared some of the monitors in the $600 price range. Compared to the KRK 5's the Behringer Truth and the Alesis M1 both sounded pretty flat to me and definitely had less happening in the high end. I've been told that the KRK's can increase sibilance in the voice though so watch out for that when mastering... I did wonder about the low end for the KRK 5's as it's got quite a small speaker, however for that price I was pleasantly surprised. I do still have problems with mixing as I mix in my bedroom with no acoustic treatment and I must admit getting the bass right is a bit of guesswork. I usually find that I mix the bass too low as I think I have some standing waves in my room and in certain spots the bass either sounds too loud or not loud enough (nodes and anti-nodes I guess). However for what I'm doing and for the money I've spent I reasonably happy with the results.
  3. I'm pretty new to mastering but I recently took a mastering class last year at uni. For mastering a rock type mix I usually put a Renaissance Compressor on first, compressing just the peaks of the wave, maybe a few dB, with a low ratio. Next I put a C4 multiband (I would use the MC 2000 MC4 but I dont have it) on the mix. I'm still getting used to multiband compressors so it's a bit of guess work but I just try to get a bit of stiffness in the track and make sure the bottom end is under control. Next I might use a BluesTube EQ to put a Baxcandall Eq curve on the track (higher low and high end levels by 1.5 dB or so). Following this I use the Oxford Inflator and adjust the curve and effect to taste, this plug-in really seems to put a lot of life and grunt into the mix. After that I usually put two L1+ Ultramaximisers over the mix and slam the level bit (but not too much) and finally use the Paz Analyser just to make sure everythings level and there's not too much phase issues and the likes. Of course every song should be done differently according to the song but that's my lazy man's mastering process when I master my own tracks. Maybe it's not professional mastering but hey, it sounds o.k. to me...
  4. Thanks guys for the tips! Yeah the sound of the original kick recording wasn't the greatest it was a little muddy. I have just recorded another two songs though with a kit again and this time we used two mic's on the kit, a D112 just inside the drum and a 421 about a foot back, this has given me two different sounds to work with one with more bass and one with more click. This makes it a bit easier to get the sound I want. Have to try the distortion on kick at some stage, sounds interesting! And maybe more compression is a good way to go as well - Cheers, Stef.
  5. I recently mixed a recording of my own music which is in the genre of alternative rock and which I think turned out pretty well, apart from the kick sound which was a bit undefined and not too 'solid'. The engineer used a D112 just outside the kick drum and got a reasonable, although not great sound and I wondered if anyone had any extra tips for mixing kick drums. I used EQ trying to get a bit of click and body in the sound although initially I mainly boosted certain frequencies which brought up the cymbals too high (in this track). I also EQ'ed the rest of the kit mic's to get rid of some of the low end but I'm not sure if I did that enough? Any tips would be appreciated!
  6. NEUMANN KM184 About a month ago I used a pair of Neumann KM 184's for a studio recording of an acoustic guitar, that was played in a alternative rock track. I used an XY setup over the 14th fret maybe 5 inches away and got a pretty good sound. I used a Taylor 512 steel string acoustic and a got a sound that was pretty close to that of the instrument (which sounds very nice by itself), although it wasn't the exact sound. Maybe I'll have to experiment with the mic position next time. The KM 184's however are really nice mic's as you would expect from Neumann and they gave a nice woody sound with plenty of detail which made the guitar sit nicely in the mix. I'd recommend them to others who are doing a similar thing. The XY mic technique worked really nicely as well, although I might try pluging the guitar in next time just to get a bit of harshness out of the guitar in the top end to complement the XY 184 mic tracks as well... http://www.neumann.com/?lang=en&id=current_microphones&cid=km180_description
  7. RODE NT1-A I own three microphones at the present (all relatively cheap ones, as I am a poor uni student). I have a Shure SM57, an Audio Technica 2020 and a Rode NT-1A. I would like to get an AKG 414 as I have recorded with this mic before on my own voice and it seems to suit me well (I'll need to get some dollars together first!). However I'd like to talk about my NT-1A mic which is my most recent purchase. Although it only cost me about $350 it is a condenser mic and is not a bad purchase for a basic project studio. It is quite a bright microphone which sounds quite clear and has a fair bit of top end although it can be quite sibilant with certain vocalists (such as myself who talk with a slighltly pronounced ssss sound on the s's). Also I do find that the NT-1A compared to the AKG 414 sounds a little sharp on the high frequencies whereas the 414 has a more rounded, mellower sound. For this reason the NT-1A can cut through a mix well but can sound a bit harsh. However for the price I'm quite happy with it and for certain vocalists in certain mixes I think it can work well. I still have my eye on the 414 though.... http://www.rodemic.com/?pagename=Products&product=NT1-A