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Is This Guitar Really This Good....


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Well, it starts off with the guy supposedly emerging from some steps to another floor...or some such. It's impossible to tell for sure if the sound is manipulated in some way but it strikes me that it is. Who knows anymore what is real and what is fabricated. But it's great that we are out of Afghanistan isn't it.

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I have a nice sound system hooked to my computer, and I don't think the audio has been processed to any great extent, if any. I'm a Collings fan, but from what I'm hearing, I think my Wechter 000 slot head 12 fret sounds a little better, especially the mids and high E string.

 

DC

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I have been watching the Eddies Guitar videos since they started appearing last year [mellow] (2014 ha ha!), when they had a vid of the om28 marquis like mine.

 

They use a Neumann KM184 mic like Tony from Music Villa, direct to a computer for a 'natural' sound. I bought one of these mics! Beautiful!

 

 

I try to listen with nice headphones, but all their guitars are totally brand new out of the box unplayed, so sound a touch bright. Matt is a great, if eclectic player and I don't know what 'style' you could call his playing, but very nice, and not as monotonous as you know who....which also makes a comparison between guitars tricky.

 

 

 

BluesKing777.

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I have been watching the Eddies Guitar videos since they started appearing last year [mellow] (2014 ha ha!), when they had a vid of the om28 marquis like mine.

 

They use a Neumann KM184 mic like Tony from Music Villa, direct to a computer for a 'natural' sound. I bought one of these mics! Beautiful!

 

 

I try to listen with nice headphones, but all their guitars are totally brand new out of the box unplayed, so sound a touch bright. Matt is a great, if eclectic player and I don't know what 'style' you could call his playing, but very nice, and not as monotonous as you know who....which also makes a comparison between guitars tricky.

 

 

 

BluesKing777.

 

I think I prefer listening to Hairy Matt as opposed to Hairy Tony. Even though it supposedly makes comparisons easier...it's so boring hearing the same 4 riffs every time.

the Collings sounds superb.

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I think I prefer listening to Hairy Matt as opposed to Hairy Tony.

 

 

That's funny, FB! [mellow]

 

 

 

The hairy guitarist formula is simple, and I know because from the time I was 13 until I was about 25, I never walked through a barbers door and even then it was an emergency repair needed after I fell into the clutches of this idiot woman hairdresser that turned by long, Matt style tresses in to...yep....some kind of Mullett cut like the nit from Slade...phew..getting steamed up, where was I, ok......yeah, the hairy guitar player - it is simply designed to make ANY kind of employment APART from guitar playing extremely unlikely! And I did some time as the graphics nerd in a corporate HR department full of happy shinies, so I know! Any other job is out! I also remember applying for a job and I could here them talking about me in the next room - to the tune of...look at that hair, but he is the only applicant and we got to finish that contract or....etc....

 

BluesKing777.

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Quote: "What do you guys (and gals) think?"

 

 

 

To answer this question properly.

 

Involves the imparting of a Large Amount of Information.

 

And also a Serious Willingness to Absorb and Reflect Upon that Information.

 

 

 

Here goes the Easy Answer.

 

I think you are Hearing a Simple and Straightforward, High Quality Recording Chain, Engineered by a Person that knows what they are Doing.

 

 

 

Here's the Complex Answer.

 

There are a Great Many Diamond Like Facets to Achieving a Truly Killer Sound.

 

The Guitar is Manufactured by One of the Better Manufacturers that Exists on the Face of the Planet, so a Good Start.

 

It is Actually Superbly Intonated throughout its Compass. The Instrument has been Perfectly Accurately Tuned and Plays Well, All Over the Fretboard.

 

The Shape and Size of Guitar give a Distinctive, but Well Balanced Sound between Fretted and Open Strings, and the Players Chord Choices, display and resonate Beautiful Aesthetics of Sound.

 

The Enharmonic Progressions, Unusual and Unfamiliar to the Ear as they will be to many, Draw the Listener in with Appealing Delicacy , Imparting a Sense of Wonderment and Mystery with an Inherent Quality of Musical Charm.

 

The Room has a Flat Wooden Background, probably Sides and presumably a Flat Floor, very possibly also Wooden, but the Relevant Point is, this is a Highly Reflective "Live Room" with Some Features that you would even find in Capital Recording Studios, probably the Best Studio in America.

 

By the way, if you make Recordings at Home Yourself, try losing any Sound Absorbing Materials that happen to be around, and lay a Flat 8x4 Wooden Board on the Floor, with Your Seat and Guitar at One End and the Mic Stand also Stood Upon It. Listen to how the "Live Reflected Sound" from the Board, Augments, Enhances and Amplifies the Guitars Acoustical Qualities.

 

 

 

Here's the Technical Bit.

 

And its Not Intended to be Critical, but Observational.

 

Most people making Recordings, don't know really a lot about what they are Doing.

 

They don't Necessarily Understand, How the Instruments are Manufactured, How they Generate their Tone, and How that Sound is Projected.

 

Furthermore, most people lack the Incredibly Expensive High Quality Mic's that can Convey the Sonic Realism and Emotional Reach that Top Quality Mics and Pre-Amplifiers are Capable Of.

 

Choice of Mic for Application, is Critical. But usually, people make Recordings, using simply the Mic they have, place their Mic's roughly according to what they have Read or Seen Others Do, and only have a Vague Notion of the Why's and Wherefores of These Matters. When in Reality, These are All Essential Differentiating Factors in Recorded Sound.

 

 

 

In Point of Fact.

 

If you wish to Faithfully Capture All The Harmonic Information (Sound) the Instrument is producing that you are Capable of Hearing and Feeling.

 

Then that can only be achieved if you Place the Mic on the Edge of the Far Field of the Instrument, at the very nearest. That is, if you take the Longest String of the Instrument, the Mic is at least, That Far from the Instrument.

 

The Complete Sound Wave and all its Concomitant Harmonics have Developed by that Point and Blended into a Fully Unified, Homogenous Sound, as closer in, Different Frequencies are actually Dominatingly Emitted, from Different Points of the Guitars Body. So what you will Capture will be Partial, even if it Seems Good.

 

If you want to test this comment, point your Mic straight into the Soundhole ON AXIS to the Instrument and you will find that you end up with an Unusable Boomy Sound. This is because although the Full Range of Guitar Frequencies are Reproduced within the Body, they are all Dominated by Three Low to Middle Range Frequencies, so the Instruments Sounds Incorrect.

 

It is These Three Dominating Frequencies that Fundamentally Define the Tonal Character of the Guitars Basic Design. Also try this Close In, on the Treble Side of the Bridge. The Point is, at Particular Parts of the Instrument, its Projected Sound or Volume of Tone will Strictly be Partial, Unbalanced, Bandwidth Limited, Lacking the Instruments True, Fully Developed Tonal Power. It's That, we need to Capture.

 

Normally, because Guitar Players Record with other Players and Instruments, and the Mic would pick up their Sound Too, the Far Field Method of Recording is Impractical in Most Situations where Sound Isolation is Sought, which it Mostly Is. Then, it is Necessary to Place the Mic in the Near Field of the Instrument, but this Limits what you Hear, and there are Problems and Choices that are Necessary to make, dependent upon the Production Values of the Recording.

 

These are Diverse, Various and Many, and can Involve Isolation or Bleed, Mic Choice and Placement, One Mic, Two Mic, or even an Extra Mic on the Fingerboard to Add the Verisimilitude of Finger Squeaks (not my thing), or even a Mic over the Shoulder of the Player. Sometimes, however Good the Equipment and Engineer is, things don't Sound Right to the Player. This is Because Guitars are Forward Projecting Instruments, which is How the Mic's Pick their Sound Up, close to On Axis; But the Player Only Ever Hears the Guitar, Completely Off Axis to its Projected Direction of Sound. So on Playback, it doesn't Sound the Same as what the Player is Used To.

 

However, within the Near Field of Every Instrument, there is a Sweet Spot where the Instruments Naturally Occurring, Resonant Qualities, Dominate. If you can find that point, and a 1/2 " Difference in Movement or Angle could find or lose that, Close in the Near Field. Then, All Extra Equalisation and Effects become Superfluous and Unnecessary and Will Only Degrade the Sound Quality from being as Compelling as Possible. To find that point on a Given Instrument in a Given Setting, the Recording Engineer will have to leave the Control Room or Area, and Put on Head Phones and spend some time Listening as they Adjust the Mic Position and Angles to Address the Instrument so that it Captures the Excellence of the Sound from that Specific Point.

 

You won't achieve that, Full Bloom of Sound, simply by placing the Mic near the Fretboard, pointing toward the Soundhole. It's much more Critical, than that, if you want to achieve a Killer Sound.

 

 

 

So to Summarise.

 

Use the Best Player and Music.

 

Along with the Best Musical Instrument.

 

Use the Best Possible Choice of Mic for the Application.

 

In the Sweetest Sounding Spot and coupled to the Best Mic Pre-Amplifier.

 

If you do things this way, the High Quality of a Simple Recording Chain will Deliver Killer Sound.

 

 

 

 

It's all very simple, when you do things this way.

 

So the Answer to the Question is Yes.

 

 

 

I have always been a Big Admirer of AL Schmitt, and have always worked in a very Similar Fashion to Al, as we are Both Old School.

 

Al, as you may know, has Won far More Grammy Awards for His Recordings, than anyone else in the Entire History of the Music Recording Industry. When he Tracks Recordings, its all about locating the Sweet Spot of Sound. He Records Without Any Added Equalisation whatever. http://alschmittmusic.com/

 

 

 

Here's David Reitzas, who has worked with Al a Lot on String Dates, at Capital Recording Studio. He bought a Sony Camera he was rather enamoured with at the time, and shows you round the Studio Live Room. The Sound is simply off the Camera Mic. That is his Wife in the Background. David Works for Producer David Foster a Lot.

 

 

 

 

Here's Simon Overdubbing Drums, something you need a Great Drummer to do. Look how far away the Overhead Mic's are from the Whole Kit, where all the Disparate Element Blend into a Unified, Very Together, Homogenous Musical Sound. They are not there simply to Catch the Sound of the Cymbals. You can usually get a Great Drum Sound from a Typical Kit using just Three Mic's in a Triangle, but you need a Great Room as that is a Big Part of the Sound.

 

Imagine the Drum Kit is One Instrument, rather than many Different Instruments, then apply that Thought to what was Written Earlier, regarding the Wildly Different Sound Qualities Emitted from Different Areas of the Guitar, but you have to Capture Everything with just One Mic. Which is Exactly How Drums Kits were Recorded, many, many years ago. Al by the way was the First person ever to use a separate Mic in the Bass Drum. And although I've worked with many Great Hit Session Drummers like Simon, Jon Hiseman and Bobbie Graham. Bob was the First Person ever to Use Headphones whilst Playing and Recording Drums.

 

 

 

 

Sound Bleed, rather than Sound Isolation, can be made to Work For You, if you Know How to Use It.

 

Mic's, like Electric Guitar Pickups, and Gibson and most particularly Fender Pickups are a Good Case in Point, are often Placed Too Close to the Sound Source, to get the Best Sound. Often a Little Distance can Work Wonders.

 

Finally, although I favour the Older and Flatter KM84 for this task, the KM184, as with All Neumann Mics, is a Product that requires a 48 Volt Phantom Power Source. It HAS to be plugged into a Separate Pre-Amplifier, simply in order even to work at all, before it can Chained Onward, and Directed into Anything Else like a Computer.

 

Just to be Helpfully, Crystal Clear, if anyone is thinking of Buying One to Use.

 

http://www.neumann.com/?lang=en&id=current_microphones&cid=km180_description

 

 

 

Listen to Recordings made by Al Schmitt and George Massenburg and use them as a Reference Point towards beginning to Appreciate what Great Recorded Sound is.

 

 

Happy New Year and God Bless You All!

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Avid home recordist here!

 

 

 

Even if you get the tech aspects and talent aspects, there is a matter of luck and timing in home rec - noise from everything or serious soundproofing needed - kids, dogs, birds, man and machines, relatives - all make it better to record early in the morning or real late at night or that opus is ruined by the lawn mower halfway through the best take ever.

 

The KM184 will pick up a conversation 5 houses down, the light plane in the distance, air con units, heater machinery, fridge......

 

And while doing it all yourself is the good part, it is also the worst part! More hands are needed sometimes!

 

 

BluesKing777.

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A good sounding acoustic will sound good under most recording situations.... even an Iphone recording

Dude, I'm TELLING ya, this laptop makes every accoustic sound like a Taylor. I'm not making this up.

 

Gibsons through this thing sound like the good Taylors. So maybe you got me there.

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