12 Jan
2010
12 Jan
'10
5:29 p.m.
All,
I'm looking for a way to balance the sound between regular playing
and pop/push type of playing on a accoustic bass guitar. The guitar is
both miked (M-Audio pulsar) and has a balanced line-in for the embedded
pick-up (of not very good quality as it lacks picking up the high
notes). That's two stereo tracks in Ardour as I feed both mono signal
in the right and left of each track. Maybe I shouldn't do that.
In any case, the push/pop notes are blasting when compared to
regular playing. A bit of blasting is OK, but there's too much
contrast now.
Is there a receipe in recording techniques that addresses that kind
of configuration and enables control over the loudness difference
from a sinle intrument in a single take ?
Any ideas/suggestions appreciated,
Cheers.
12 Jan
12 Jan
6:41 p.m.
On Tue, 2010-01-12 at 16:29 -0500, lanas wrote:
All,
I'm looking for a way to balance the sound between regular playing
and pop/push type of playing on a accoustic bass guitar. The guitar is
both miked (M-Audio pulsar) and has a balanced line-in for the embedded
pick-up (of not very good quality as it lacks picking up the high
notes). That's two stereo tracks in Ardour as I feed both mono signal
in the right and left of each track. Maybe I shouldn't do that.
In any case, the push/pop notes are blasting when compared to
regular playing. A bit of blasting is OK, but there's too much
contrast now.
Is there a receipe in recording techniques that addresses that kind
of configuration and enables control over the loudness difference
from a sinle intrument in a single take ?
Any ideas/suggestions appreciated,
Cheers.
Speaking from theoretical knowledge, wouldn't compression give a more
even feel to the recording? Of course you'd need to lower your input
volume to give headroom for the push/pop notes.
13 Jan
13 Jan
4:52 a.m.
> That's two stereo tracks in Ardour as I feed
both mono signal
> in the right and left of each track. Maybe I shouldn't do that.
There are no rights or wrongs, all that matters is the final outcome.
Though if both tracks have identical data and you don't process them
differently it's probably just a waste of processing power.
Is there a
receipe in recording techniques that addresses that kind
of configuration and enables control over the loudness difference
from a sinle intrument in a single take ?
Any ideas/suggestions appreciated,
Cheers.
Speaking from theoretical knowledge, wouldn't compression give a more
even feel to the recording? Of course you'd need to lower your input
volume to give headroom for the push/pop notes. 
4:58 a.m.
On Tuesday 12 January 2010 23:41:20 Ng Oon-Ee wrote:
On Tue, 2010-01-12 at 16:29 -0500, lanas wrote:
Yes, compression is what is to be used here. I know bass players that have a
compressor in their chain before the allow you to get the signal.
I'm looking for a way to balance the sound
between regular playing
and pop/push type of playing on a accoustic bass guitar. The guitar is
both miked (M-Audio pulsar) and has a balanced line-in for the embedded
pick-up (of not very good quality as it lacks picking up the high
notes). That's two stereo tracks in Ardour as I feed both mono signal
in the right and left of each track. Maybe I shouldn't do that.
In any case, the push/pop notes are blasting when compared to
regular playing. A bit of blasting is OK, but there's too much
contrast now.
Is there a receipe in recording techniques that addresses that kind
of configuration and enables control over the loudness difference
from a sinle intrument in a single take ?
Speaking from theoretical knowledge,
wouldn't compression give a more
even feel to the recording? Of course you'd need to lower your input
volume to give headroom for the push/pop notes.
No, the compressor will lower the volume of the push/pop notes so that you can
turn up the overall amplification afterwards.
The input should be set as high as possible without distortion on the loudest
parts of the signal.
Have fun,
Arnold
5:36 a.m.
On Wed, 2010-01-13 at 09:58 +0100, Arnold Krille wrote:
Ah, I was talking about digital compressing (for example, within
ardour). Wouldn't headroom be needed for that?
Of course
you'd need to lower your input
volume to give headroom for the push/pop notes.
No, the compressor will lower the volume of the push/pop notes so that you can
turn up the overall amplification afterwards.
The input should be set as high as possible without distortion on the loudest
parts of the signal.
5:45 a.m.
2010/1/13 Ng Oon-Ee <ngoonee(a)gmail.com>om>:
On Wed, 2010-01-13 at 09:58 +0100, Arnold Krille
wrote:
Ah, I was talking about digital compressing (for example, within
ardour). Wouldn't headroom be needed for that?
If the source is uncompressed you need to allow headroom for the
peaks, so yes. As Arnold points out, this is always true, you need to
keep it from distoriting the loudest parts.
... unless this is an intended effect. ... no rules..
/Robert
Of course
you'd need to lower your input
volume to give headroom for the push/pop notes.
No, the compressor will lower the volume of the push/pop notes so that you can
turn up the overall amplification afterwards.
The input should be set as high as possible without distortion on the loudest
parts of the signal.
7:50 a.m.
On Wednesday 13 January 2010 10:36:28 Ng Oon-Ee wrote:
On Wed, 2010-01-13 at 09:58 +0100, Arnold Krille
wrote:
Ah, I was talking about digital compressing (for example, within
ardour). Wouldn't headroom be needed for that?
You mean more then the (almost) infinite headroom of double precision numbers
(used inside jack an ardour)? - No, not really...
And compression _reduces_ the volume. Only after the compression you raise the
level of the over-all reduced sound again and get a decreased dynamic range.
Arnold
Of course
you'd need to lower your input
volume to give headroom for the push/pop notes.
No, the compressor will lower the volume of the push/pop notes so that
you can turn up the overall amplification afterwards.
The input should be set as high as possible without distortion on the
loudest parts of the signal.
10:36 a.m.
On Wed, 2010-01-13 at 12:48 +0100, Arnold Krille wrote:
On Wednesday 13 January 2010 10:36:28 Ng Oon-Ee wrote:
Actually, I'm pretty sure we're in different worlds, noob that I am. I
refer to headroom given in the original recording so that the pull/pop
parts don't peak. I'm pretty sure you're referring to digital headroom
somehow, which I don't understand.
On Wed, 2010-01-13 at 09:58 +0100, Arnold Krille
wrote:
Ah, I was talking about digital compressing (for example, within
ardour). Wouldn't headroom be needed for that?
You mean more then the (almost) infinite headroom of double precision numbers
(used inside jack an ardour)? - No, not really... Of course
you'd need to lower your input
volume to give headroom for the push/pop notes.
No, the compressor will lower the volume of the push/pop notes so that
you can turn up the overall amplification afterwards.
The input should be set as high as possible without distortion on the
loudest parts of the signal. And compression _reduces_ the volume. Only after the
compression you raise the
level of the over-all reduced sound again and get a decreased dynamic range.
Arnold
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7 comments
4 participants
participants (4)
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Arnold Krille -
lanas -
Ng Oon-Ee -
Robert Jonsson