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Recording nylon string guitar
Old 10th December 2019 | Show parent
  #61
Gear Maniac
 
🎧 15 years
Quote:
Originally Posted by Julian J. Ludwig ➡️
Ricardo is a colleague of mine. If you guys have any specific questions I could ask him.
It would be interesting to know some details about the setup, mics, pres, placement.

Thank you.
Old 11th December 2019 | Show parent
  #62
Gear Addict
 
Julian J. Ludwig's Avatar
 
1 Review written
🎧 10 years
Quote:
Originally Posted by PluckinTones ➡️
It would be interesting to know some details about the setup, mics, pres, placement.

Thank you.
I gave Ricardo a shout to visit the topic.
Old 11th December 2019 | Show parent
  #63
Lives for gear
Quote:
Originally Posted by Julian J. Ludwig ➡️
I gave Ricardo a shout to visit the topic.
What a nice thing to do!


- Ray H.

BTW, so much of the material on your sites is really nice. Keep up the great work!
Old 20th December 2019 | Show parent
  #64
Lives for gear
Quote:
Originally Posted by David Spearritt ➡️
Beautiful recorded sound from Marcelo Kayath and Ricardo Marui in that Suites & Sonatas.
https://www.youtube.com/watch?v=sHi3e8zCOHE
For comparison, here is Aniello Desiderio - also via Ricardo Marui. Of course, the Rodrigo piece is far from Bach - as are Aniello Desiderio's technique's far from Marcelo Kayath's.

But one should be able to appreciate the [I think, huge] difference between the very nice Alessandro Marseglia guitar [played by Aniello] and the extraordinary Hermann Hasuser 1 [played by Marcelo]. [1]




My point would be that one is never, ever going to get close to this Hauser with this Marseglia [nor, barring poor string selection, vice versa]. . .

. . .and, to share another very fun recording from Ricardo.


Enjoy,

Ray H.


[1] String selection can also make an enormous difference on classical guitars - more so on some models than others. And results vary widely how well a given set of strings works on one guitar vs. a different guitar for the player's objectives. A given set can be rich, inviting and sparkly on one axe - but thin and irritating or dull on another. I'm assuming that both of these talented, highly experienced players have made such selections based on their personal preferences - which may likely also be different.
Old 21st December 2019 | Show parent
  #65
Deleted 9d8db46
Guest
Quote:
Originally Posted by RayHeath ➡️

String selection can also make an enormous difference on classical guitars - more so on some models than others. A given set can be rich, inviting and sparkly on one axe - but thin and irritating or dull on another.
And all along I thought it was just my crappy technique!

Old 21st December 2019 | Show parent
  #66
Lives for gear
Quote:
Originally Posted by Deleted 9d8db46 ➡️
And all along I thought it was just my crappy technique! [. . .]
Yes, apologies for the elementary info, Robert.

The intention of the post was to focus on dissimilar instrument models recorded by a single person with a strong, established and respected style - Ricardo Marui had already been presented.

I was strongly resisting the footnote when writing the post. But felt honesty in the argument must emphasize how far an otherwise great set of strings can pull down the greatest of classical guitars. . .and settled on the notion that something like it was a required caveat for more casual readers.

Assuming one is only switching between the 'best' from high-quality string vendors, I don't know that I have ever seen such gargantuan deltas on steel-string acoustic guitars, or electric guitars of any kind, or banjos, or Dobros, etc.? High-end classical guitars [the instruments themselves] are just a very different kind of game there in my experience.

However, if anyone does complain about your technique, just tell them I gave you a bad set of strings - I'll back you up.


Best wishes,

Ray H.
Old 21st December 2019
  #67
Deleted 9d8db46
Guest
I meant it! My technique sucks! It is, however, encouraging that possibly a change of strings might improve the tone I get in my recordings. Plus, I'm saddled with a less than wonderful instrument. I played a $1500 Yamaha in our local store recently, and shall we say, I think I know where my Christmas bonus is going. Sure, it ain't no Hauser . . . but it's certainly an improvement over my current Cordoba.
Old 23rd June 2020 | Show parent
  #68
Gear Nut
Quote:
Originally Posted by robert82 ➡️
These shots, and the accompanying Soundcloud are from Stefano Amerio's studio in Udine, Artesuono. Stefano is an engineer for ECM as well as for independent projects like Maciek Pysz, the guitarist here. As you can see, in each case it's a pair of TLM 103s spaced close enough to create a stereo image, but not generate too much phase cancellation in mono.

I've been playing with this setup, it's better than most - I suspect my room could better though. . . Oh, and I have also tried setting the mics at figure 8 as well (obviously I don't have TLM 103s!). That makes a pseudo Faulkner Array, I guess. ;~)

Wow, beautiful, thanks for sharing... these mics really have a great response... sound like the right LDCs are a good way to go...
Old 30th January 2021 | Show parent
  #69
Lives for gear
 
🎧 15 years
1930 Hauser.
https://www.youtube.com/watch?v=qG9_rMs6TCc
Great sound and playing. What an instrument.
Old 30th January 2021 | Show parent
  #70
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pencilextremist's Avatar
 
9 Reviews written
🎧 5 years
Quote:
Originally Posted by David Spearritt ➡️
1930 Hauser.
https://www.youtube.com/watch?v=qG9_rMs6TCc
Great sound and playing. What an instrument.
it certainly is, very sweet sound!
Old 31st January 2021 | Show parent
  #71
Lives for gear
 
🎧 15 years
Quote:
Originally Posted by pencilextremist ➡️
it certainly is, very sweet sound!
Interesting info about the Hausers used in the recording in this interview.
https://www.youtube.com/watch?v=TAwQ35SgFEM
Old 4 weeks ago | Show parent
  #72
Gear Head
 
🎧 5 years
Classical guitar

Hi,

I bought a Royer SF-24V a month ago and here are two recordings with the swedish guitarist David Härenstam.

The first is completely natural. No eq, reverb, compression.
The second has little compression and reverb added.

Recorded in a small church (stone).

Interface: RME UFX+

Video 1

Video 2

Regards
Pär Fridberg
Stockholm
Sweden
Old 4 weeks ago | Show parent
  #73
Lives for gear
 
hbphotoav's Avatar
 
🎧 10 years
Quote:
Originally Posted by Fridberg ➡️
Hi,

I bought a Royer SF-24V a month ago and here are two recordings with the swedish guitarist David Härenstam.

The first is completely natural. No eq, reverb, compression.
The second has little compression and reverb added.

Recorded in a small church (stone).

Interface: RME UFX+

Video 1

Video 2

Regards
Pär Fridberg
Stockholm
Sweden
Very nicely done.

The one thing I "noticed" was the gain difference between the tunes... the second sounded, for lack of a better description, a bit "too loud" and/or "too present" for the harmonics being performed. To hear the harmonics (and the concomitant increase in chair noise/room tone) reproduced nearly as "loud" as the previous piece's strumming was a bit "unnatural". Even had I not had the direct A/B comparison today (one after the other), I'd likely still think the second piece sounded a bit "hyped" or "processed."

That said, the guitar, the recordings, and the Royer sound pretty fabulous. I can't remember being in a venue here (mostly schools and churches) with as lovely a room tone, and the lack of environmental noise intruding from outside. I do live in a largish city, within 5 miles of an active regional hub airport, and a lot of tourist traffic in and out, and this was refreshing, as was the style, pace and thoughtfulness in the video setup and editing. My one small "video" quibble would be the inclusion of the backlight (and the power wire), in some scenes. Tall booms are expensive, and the edge lighting is nice, but seeing the LED panel is visually intrusive in the beautiful environment... and that is a tiny hyper-critical old curmudgeon's comment.

I repeat... Very nicely done.

HB
Old 4 weeks ago | Show parent
  #74
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pencilextremist's Avatar
 
9 Reviews written
🎧 5 years
has anyone here tried the austrian audio oc818 for classical guitar? I like how they sound a lot and am considering buying a pair of them so I can do blumlien with both in fig 8 mode.
Old 4 weeks ago | Show parent
  #75
Gear Maniac
 
🎧 15 years
Quote:
Originally Posted by pencilextremist ➡️
has anyone here tried the austrian audio oc818 for classical guitar? I like how it sounds a lot and am considering buying a pair of them so I can do blumlien with both in fig 8 mode.
Here:
Old 4 weeks ago | Show parent
  #76
Gear Guru
 
1 Review written
🎧 5 years
Quote:
Originally Posted by pencilextremist ➡️
has anyone here tried the austrian audio oc818 for classical guitar? I like how it sounds a lot and am considering buying a pair of them so I can do blumlien with both in fig 8 mode.
i like the mics but i hate blumlein for most applications... - imo one can do much more interesting things with a pair of oc-818's!
Old 4 weeks ago
  #77
Gear Addict
 
Well, don't just tantalize! Tell us your mic placement and processing. It appears to be a small room and you have used artificial reverb quite tastefully. I'd be interested to know which reverb you applied.
Old 4 weeks ago | Show parent
  #78
Lives for gear
 
pencilextremist's Avatar
 
9 Reviews written
🎧 5 years
Quote:
Originally Posted by deedeeyeah ➡️
i like the mics but i hate blumlein for most applications... - imo one can do much more interesting things with a pair of oc-818's!
interesting, why do you hate it?
Old 4 weeks ago | Show parent
  #79
Gear Guru
 
1 Review written
🎧 5 years
Quote:
Originally Posted by pencilextremist ➡️
interesting, why do you hate it?
'cause i prefer to record what's in front of the mics, i want some versatility regarding the width when using coincident mics, i rarely need such a tight pattern, i never need the rear pick-up to be out of phase, i much prefer to use separate ambis and mostly want them far apart, positioned in the diffuse soundfield.

for me, blumlein embodies almost everything i don't like using and (more importantly) hearing - i occasionally/just very rarely find it useful in highly reverberant spaces and on selected sources: spot mic however isn't amongst them.

I have an even greater aversion to blumlein consisting of ribbon mics...

Last edited by deedeeyeah; 3 weeks ago at 10:18 AM..
Old 3 weeks ago | Show parent
  #80
Gear Addict
 
Quote:
Originally Posted by pencilextremist ➡️
has anyone here tried the austrian audio oc818 for classical guitar? I like how they sound a lot and am considering buying a pair of them so I can do blumlien with both in fig 8 mode.
Old 3 weeks ago | Show parent
  #81
Gear Maniac
 
🎧 15 years
Quote:
Originally Posted by Rob 28 ➡️
Well, don't just tantalize! Tell us your mic placement and processing. It appears to be a small room and you have used artificial reverb quite tastefully. I'd be interested to know which reverb you applied.
Sure! It is a small-medium room with a quite odd shape (7 walls in total), wooden floor, high ceiling and minimal treatment.

On the recording you hear a pair of OC818 in AB about 26cm apart, at ears level. I applied a custom polar pattern (which is one of the things that made me love the OC818's, apart from their clean and articulate sound) and added a bit of reverb with 2CAudio Aether.
Old 3 weeks ago | Show parent
  #82
Gear Nut
Quote:
Originally Posted by Rob 28 ➡️
Not even fair, this guy would sound good on any mic,, brilliant performance! :-) Just to throw this out there, how about a Vanguard V44S? It's a stereo LC mic, and you can rotate the capsules, allowing for X/Y, M/S, and Blumlein with just one mic for $1Kish, unless you find a used one for less... Lots of studios like and use these..
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