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Posts: 2120
Location: Chicago | In the "classic" O-tunes (from Kansas, Doobies to Di Meola) is the Ovation usually plugged in or unplugged? I know this sounds like a dumb question but I really don't know. JM of the Mahavishnu Orchestra for SURE recorded his acoustic "O" stuff UNPLUGGED ("Lotus on Irish Streams" "Thousand Island Park"). The original of Al D's "Short Tales From the Black Forest" is also unpugged. Is there a standard out there? |
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January 2006
Posts: 2120
Location: Chicago | My motivation: I am curious about how to best capture the legendary Ovation sound! |
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March 2002
Posts: 14842
Location: NJ | Use a pair of GoodMics.
Maybe a TOUCH of Output from the guitar,
but I'd rely more on the NaturalSound . . . |
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February 2005
Posts: 11840
Location: closely held secret | Hmmm. Heard of Rode, MXL, AKG, Shure, Neumann... never heard of GoodMic. Korean?
...if they were Chinese they'd be Beautiful Lovely GoodMic. |
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January 2002
Posts: 14127
Location: 6 String Ranch | both miced and plugged and then mix carefully. |
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January 2006
Posts: 2120
Location: Chicago | That's it: CAREFULLY. I wonder how some of the killer studio mixes were achieved in the past! |
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April 2004
Posts: 13303
Location: Latitude 39.56819, Longitude -105.080066 | killer studio mixes were achieved by engineers that knew what they were doing (and by a few who didn't but got lucky) |
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April 2004
Posts: 13303
Location: Latitude 39.56819, Longitude -105.080066 | Dobro, If you are really interested, the book "Behind The Glass" by Howard Massey is a good read. It interviews a lot of the top producers of the past and they talk about techniques and tips on how they did things. |
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December 2001
Posts: 7247
Location: The Great Pacific Northwest | Originally posted by stephent28:
killer studio mixes were achieved by engineers that knew what they were doing (and by a few who didn't but got lucky) Exactly. I have a formula I start with, it's my ears, and I usually end up with setting things up a certain way. But, it all depends on the room, the mics, the player, the tune, the guitar etc etc etc etc etc..
And for what it's worth, unless you were IN THE RECORDING SESSION, you DO NOT know what was used on an album, or for that matter, if your favorite artists who's on the cover was even involved.
Back to the question, most engineers start out with at least two mics. If there is a pickup/preamp on the guitar, it's foolish not to plug it in too. Now what gets used on the final mix... could be any combination of anything recorded. More likely, any combination of anything recorded on any of the multiple takes of the recording.
Bottom line, a good engineer with the right mics can make a Taylor sound like an Adamas or an Estaban, or even a Taylor if he had too, and unless you were there, you wouldn't know by listening to the final mix. |
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October 2005
Posts: 5332
Location: Bluffton, SC | "Bottom line, a good engineer with the right mics can make a Taylor sound like...a Taylor if he had too..."
Yikes. So to answer Dobro's question, I guess there are no standards out there. |
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March 2002
Posts: 14842
Location: NJ | Master Templeman did a REALLY GOOD Workshop during the last TourJam that touched on this!!
He brought a CD of several recordings of the SAME guitar playing the SAME chords/rifs . . . the only variable being the proximity/placement of the mics.
The differences in the sound were stunning.
I/We keep HARPING on you guys t'come to these things, and THIS is just ONE of the reasons why . . .
. . . the Trebuchet was the Other. |
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March 2002
Posts: 15680
Location: SoCal | Drinking tequila from Cliff's slide is another (note to self, bring glass slide for drinking purposes)..... |
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March 2002
Posts: 14842
Location: NJ | I've seen you drink.
Bring a thimble. |
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November 2003
Posts: 11039
Location: Earth·SolarSystem·LocalInterstellarCloud·Local Bub | Originally posted by cliff:
Master Templeman did a REALLY GOOD Workshop during the last TourJam that touched on this!!
He brought a CD of several recordings of the SAME guitar playing the SAME chords/rifs . . . the only variable being the proximity/placement of the mics.
The differences in the sound were stunning.
I/We keep HARPING on you guys t'come to these things, and THIS is just ONE of the reasons why . . .
. . . the Trebuchet was the Other. In fact as a result of Temp's workshop, We mic'd the guitars being launched from the Treb in several different positions too...
what Cliff said .... "stunning difference" |
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Recorded O's: Plugged or Unplugged?