… which has practically become the stuff of urban legends. I half-expect to see non-reputable newsfeeds begin regular reports of CD box sightings in/around certain geographic areas. In an effort to de-fuse any such rumors, here’s the final version of the cover art:
I do hope everyone realizes I am joking about the news reports. I am not quite that important in the eyes of the general public and, most certainly, won’t be engaging in Twitter battles with other music celebs (or with a certain presidential candidate…..).
Here’s the update on Balance:
The technical issues have been conquered. Early-on, I was encountering all sorts of electrical interference on the recorded tracks. During sound-checking everything would sound perfect – I’d doff the headphones (which I preferred not to wear while playing) and record for an hour or more. Upon reviewing the tracks afterward (days/weeks…. more about that later) I’d hear either news radio broadcasts or twinkly static that resembled electronic mosquitoes. In either case, filtering, which can eliminate power hum and the like, didn’t solve the problem – the noise was too loud and tweaking removed far too much guitar sound. The source of the interference was my electrical lines picking up the signals from no fewer than nine towers that stand within a half-mile radius of my home. I could a) re-wire my entire house; b) install a highly-insulated A/C circuit just for studio use; or c) get off the grid. The third option cost far less than the first two….. Of course, I utilize condenser mics which require phantom power and, essentially, need to be plugged in. It just so happened that TASCAM was offering a factory rebate on their DR-40 recorder – 4-track recording, battery-powered, with phantom power. The unit records 24bit/48K resolution and, as it happened, was on sale through an online retailer.Need I say more?
The new setup features four mics with the DR-40 with the option of a fifth with my DR-1. As I currently do not have a dedicated studio room where mics can be left in place, I face the issue of having the sound just a bit different for each session. A one-inch difference in mic placement can alter the bass response, affect the midrange…. when an A/B comparison is made between tracks you can hear subtle tonal contrasts. That’s not a bad thing, I’ve come to realize, as there is plenty of tonal variation possible with 4 or 5 mics. In fact, my original goal with the multi-mic setup was to capture as much sound and tonal character as possible then mix the signals to achieve the sound I want. I’ve always ascribed to the theory that having more sound/tone than you need allows you to remove what doesn’t work – if you come up short, tonally, adding/boosting frequencies usually yields lackluster results (at least for me).
Thus far, I’ve refrained from doing a lot of plug-in processing other than compression/limiting. I want the natural sound of the LaPatrie guitar on the recording – it sounds great and the recording is, after all, a solo acoustic guitar album. I have been able to mix and position the individual mic tracks to create a full, rich sound that conveys the dynamics and the texture of the guitar. I do add reverb (Timeworks) and use Steinberg software for mastering – I do have a favorite reverb setting (which I do tweak for each track) but the mastering is accomplished on a track-by-track basis. I look to fill the sound out just a bit while getting the overall mix ‘tight’. I do leave a good deal of dynamic range in the finished product. Essentially, I want to like the sound.
Of course, first and foremost, the playing has to ‘cut it’. I have to like what I played and believe it’s a strong musical performance. This is where I must utilize the most challenging aspect of my recording process: patience.
I will tell you all about that next time…..