Well, yeah, it's just still interesting. It ended up being quite an emotional piece but you could not hear it before!!
Cerb has been digging the Andalusian cadence for a while now. It was fun to mess with. And the Voodoo Chile thing just isn't clean. That's why one track has that octave fuzz on it...but very muted. Hairy. LOL
I have, there's just something about it. Now if I can only catch that elusive chorus I tried singing (a potentially horrible experience for anyone who might hear it) the lyrics yesterday and the melody will have to change a bit.
This take was actually recorded using a real miked up cab. I'll have to figure out how to make it sound larger.
In the only room I've got It sounds good when I'm in it but no, it has none of the caracteristics of a good room for recording. I know very little of these things, the mic was in the room but about a foot in front of the speaker. I'm guessing that isn't what you'd call a room mic? When I get back home today I will try moving the large diaphragm condenser to around where my head is and put the Sennheiser on the speaker and use both of them.
Use the 3 to 1 rule on the room mic. Phasing can make it sound thinner than just using a close mic. The 3-to-1 rule says when a microphone is on a sound source, any additional microphones that pick up that same source should be at least three-times the distance away from the sound source. This distance eliminates problems related to phase and comb filtering, due to the significant drop in volume. It's why they invented reverb. To emulate a larger space. Petty’s Echo Chamber Another thing that contributed to the “Clovis Sound” wasn’t actually in the studio at all. “Norman built an echo chamber in the A-frame attic of his father’s garage next door,” says Stull. “Buddy Holly’s family was in the tile business and they took a bunch of scrap ceramic tile and put pieces all over the attic, which was about 100’ long and 50’ wide, to create reflective surfaces. On one side, Norman placed an old speaker in a wooden case that looked like the sort of speaker used in schools to make announcements, and on the other side he had a microphone. He also had some big pieces of sewer tile standing up in there, which the sound would hit and curve around to break up any standing waves. He would send the sound from his studio all the way over to that attic and then the microphone would pick it up and that sound would be sent back to the studio." When you don't have a great sounding room with great mics to capture that sound, enter reverb. And even at Capitol, they have those chambers under the studio.
LOLZ for Miku pedal at 9:25! FWIW, i find Fuzz Faces to be incredibly sensitive to where they are in the signal chain and to exactly which pedals are being used before and after them. When you get it just right they can be awesome pieces of kit, but omg, when you get it wrong... ugh.
OOPS... i forgot to say that my comment wasn't really related to that vid, but was more of an aside based on my own personal experience.
I've been fiddling. I stuck a compressor in front of the amp and added a second microphone, both together sounded better than either one on its own. Tried different things in Reaper and this is the outcome. Now I should probably go back to finishing the song, or learn to sing...
How big is the room, and how loud is the amp? Is the LDC cardioid or figure 8? Also, I know that mic is designed to dangle...but off axis at the outer edge of the speaker/cone will get a better sound IME.
Sorry I missed this! But I won’t listen on my phone... I’ll check it out tomorrow when I’m in the studio.
The room is about 8 by 10 and I recorded at night so tye amp wasn't very loud. The mic gain on the interface was set as in the photo, the lower one is for the LDC. The LDC can be set to both figure eight and cardioid, I used cardioid. The problem with moving the Sennheiser off the grill is that it's not very sensitive, I'd soon have to crank the gain on the interface. I will try this again with the DI and impulse responses.
