The Logic Off Topic list

Hello!! I'm starting to get into recording guitars in stereo because I've
noticed that it sounds much better. It seems more natural sounding to me. I
have a few questions. I'm not clear exactly how I should record them. If I
record them onto a stereo track in Logic than what do I do about panning? I
mean the signal stays right and left and the pan control becomes a balance
comtrol right? What if you want to pan the guitar to 9 o'clock? Is it better
to record the stereo guitar on two seperate tracks to retain flexibility? If
you record them onto two mono tracks it's also a pain because if you want to
compress the whole stereo track you have to use two compressers instaed on
one. What is the standard procedure for this?
  Also I'm wondering what some of peoples favorite mic placemets are for
stereo micking (especiall acoustic and electric guitars). I recorded an
acoustic with a condensor a few feet infront of the guitar at aroung the
14th fret and used a dynamic mic about an inch infront of the headstock.
Would XY micking work o.k. with a condensor/dynamic combo?
  I'm kind of limited with mics. I have an AKG c3000b, some SM57's and 58's.
  For guitar amps I was thnking of putting the 57 a little off center of the
cone and putting the AKG somewhere else in the closet I use to record amps.
Is there any standard position for the ambient mike?
                              Thanks!!        --Roger

Från: "Litepipe" <litepipe@...>

> If I
> record them onto a stereo track in Logic than what do I do about panning? I
> mean the signal stays right and left and the pan control becomes a balance
> comtrol right? What if you want to pan the guitar to 9 o'clock? Is it better
> to record the stereo guitar on two seperate tracks to retain flexibility? If
> you record them onto two mono tracks it's also a pain because if you want to
> compress the whole stereo track you have to use two compressers instaed on
> one. What is the standard procedure for this?
> 
> HI,
> 
> One way to keep all options is by recording both mics fully panned L/R to a
> stereo file. You can then either process that file as a stereo mix or split
> the left and right  to different busses. To do that, copy the audio regions of
> the track to another track set to a different stereo channel, pan one channel
> fully left and the other one fully right. Then assign their output to two mono
> busses. This will give you the possibility to process each mic separately by
> buss fx inserts.
> 
> 
> For guitar amps I was thnking of putting the 57 a little off center of the
> cone and putting the AKG somewhere else in the closet I use to record amps.
> Is there any standard position for the ambient mike?
>                               Thanks!!        --Roger
> 
> When recording a close up sound from a cabinet a common trick is to crank up
> the volume of the amp - with no playing musician attached - put on headphones
> and stick the mic up to the speaker and move it around. Listen carefully for
> the mic placement that gives the most amp hiss noise. That placement will also
> give the most true representation of the acoustic cabinet sound - from a close
> up view. 
> 
> Hope this was to some help :)
> 
> Per Boysen
>  
> 
> 



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Per Boysen wrote:
> One way to keep all options is by recording both mics fully panned L/R to
a
> stereo file. You can then either process that file as a stereo mix or
split
> the left and right  to different busses. To do that, copy the audio
regions of
> the track to another track set to a different stereo channel, pan one
channel
> fully left and the other one fully right. Then assign their output to two
mono
> busses. This will give you the possibility to process each mic separately
by
> buss fx inserts.

  Hi Per, if you split the stereo file into left and right and then send
them to different busses wouldn't you run out of busses soon? Especially
with five or more guitar parts considereing there are only 16 busses? Or is
recording this many guitars in stereo uncommon?

> When recording a close up sound from a cabinet a common trick is to crank
up
> the volume of the amp - with no playing musician attached - put on
headphones
> and stick the mic up to the speaker and move it around. Listen carefully
for
> the mic placement that gives the most amp hiss noise. That placement will
also
> give the most true representation of the acoustic cabinet sound - from a
close
> up view.

  This is a good tip!! Thanks!! What about the ambient mike? Are there any
rules? Anything goes? Is there anything I should know about phase issues?
                                      --Roger

> Från: "Litepipe" <litepipe@...>
> 
> Per Boysen wrote:
>> > One way to keep all options is by recording both mics fully panned L/R to
> a
>> > stereo file. You can then either process that file as a stereo mix or
> split
>> > the left and right  to different busses. To do that, copy the audio
> regions of
>> > the track to another track set to a different stereo channel, pan one
> channel
>> > fully left and the other one fully right. Then assign their output to two
> mono
>> > busses. This will give you the possibility to process each mic separately
> by
>> > buss fx inserts.
> 
>   Hi Per, if you split the stereo file into left and right and then send
> them to different busses wouldn't you run out of busses soon? Especially
> with five or more guitar parts considereing there are only 16 busses? Or is
> recording this many guitars in stereo uncommon?
> 
> 
> Yup. Sad facts of life - bounce a sub mix to disc.
> 
> 
>> > When recording a close up sound from a cabinet a common trick is to crank
> up
>> > the volume of the amp - with no playing musician attached - put on
> headphones
>> > and stick the mic up to the speaker and move it around. Listen carefully
> for
>> > the mic placement that gives the most amp hiss noise. That placement will
> also
>> > give the most true representation of the acoustic cabinet sound - from a
> close
>> > up view.
> 
>   This is a good tip!! Thanks!! What about the ambient mike? Are there any
> rules? Anything goes? Is there anything I should know about phase issues?
>                                       --Roger
> 
> 
"Ambient mike" is mostly a question of the room ambience and the microphones
used. Usually recorded in stereo. I'm sorry I don't know any specific tips
here. Seems to be as many ways as there are recordists out there.

Using more microphones for a  take increases the risk for phasing errors.
Switching over to mono monitoring can help adjusting phase before recording
in stereo.

Speaking about guitar recording I read about Zappa also using a mic built
into the neck. And I would like to try putting  pickups behind the nut as
well as behind the bridge on an electric guitar. Anyone tried that? Would be
interesting to record them separately as different mono files. I once saw
Fred Frith with some guitarish instrument he had built himself with no
frets, only one bridge in the middle and movable pickups on both sides.
Sounded terrific! Although it wouldn't precisely fit in a cover band.

Per Boysen
- way off topic this morning 


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