No real secret to it. Recorded in my finished basement… carpeted floor, normal drywall etc…nothing unusual, ceiling is about 7.5 ft high. As a recording space for acoustic guitar, it’s probably no different from a normal bedroom home studio.
I used 2 mic’s, an AKG C414 XL2 on the body of the guitar, about 12" away, and a Sennheiser e914 small diaphram condensor pointed at the neck/13’th fret, also at about 12" away. The sound you hear is a mix of the two with a bias towards the Sennheiser (the neck mic will give you more of the sharp/percussive “string” sound but will also be a bit thin).
Both mic’s ran through a Steinberg MR816 mic pre (which I use solely as a mic pre/converter because it’s performance as a firewire audio interface doesn’t come close to my RME interfaces).
Very light compression on the track (just used a Steinberg Cubase standard compressor plugin) and a reverb send to a Waves Rennaisance Verb plugin (dont recall the preset i used but i did minor tweaking…mostly on the pre-delay and diffusion settings).
Dont recall what brand guitar it was, a pretty nice one but nothing spectacular.
I’ve heard this before as well, but I’m not sure I commented on it. I LOVE the percussion and guitar on this, very nice.
This is probably a stupid question, but: what else should a firewire audio interface do apart from offering mic pre’s and a/d converting? (I know there’s d/a for your outputs but I don’t think that’s where the mr816 lets you down?)
As a firewire interface the MR816 provides both mic pre’s, analog to digital conversion and connects to a pc, via firewire, and “talks” to the audio driver (Asio, full duplex, etc…) to transfer the digital audio stream into whatever DAW you’re working with. This is different than an analog/digital converter that does the conversion and provide something like ADAT output. While ADAT is a digital stream, you cant just plug it directly into a PC to transfer it to your DAW. Generally, some sort of box is needed (RME Digiface, M-Audio Firewire lightpipe etc…) that will accept inbound ADAT streams and talk to the PC’s audio driver to transfer the stream into the PC.
In this sense, the MR816 does the same thing the RME Fireface 800/400 does, The various Presonus interfaces, the Focusrite Sapphire series etc…Essentially a one stop box that doe mic pre, a/d conversion and interfaces with the PC’s audio driver to get the data into the DAW software.
Forgive me if you already know some or all of this. I went into detail for those who may not be entirely familiar with it all.
Nice. Funny…the cymbal washes was one of the things that grabbed my attention… they sound great…what did you use? I did notice a few things in the vocal… some pitch issues mostly, more so on the female vocal perhaps - certainly in a few spots anyway. And I notice your voice cracks right at the end of the last “home” (4:03)… I guess you could call that ‘character’ ??
We set up the drum’s in my basement. It’s a finished basement, carpeted floor, drywall. Originally designed to be a home theater, it’s reasonably tuned as far as resonance points are concerned but not very live. The cymbal washes are essentially the overhead mic’s (a pair of AT 4033’s) running through Steinberg MR816 pre amp’s.
Vocals, yes, some pitch issues on the harmonies but we talked about it and the band didn’t want to get into lot’s of auto-tuning, felt the vocals worked to their ears. Same with the “crack” at the end. We almost re-did this but the lead vocalist really liked the sound. The more I listened to it, the more I did as well.
I like it, it has a nice live performance sound to it. Same observations on pitch, but actually, it sounds realer than a lot because of it. What’s the problem with your MR816 as a firewire interface? Just curious; mine’s working great.
Latencies aren’t great on it…cant really push it down to extremely low buffers without getting intermittant pop’s/ clicks (and I’ve done all the usual stuff…legacy firewire driver in win 7, latest Steinberg drivers etc…).
The MR editor routing capabilities dont even come close to what I can do with RME’s total mix.
I like the MIc Pre’s and converters of the MR but it works much better if I use it in that capacity and use the RME Multiface as the PC audio interface.
Additionally, I already had an RME Multiface (which works absolutely brilliantly…all the time, every time) and the way I work is I use an ADK audio laptop for mobile recording work. It uses an RME digiface that provides ADAT connections to 2 Focusrite Octopre Mk2’s and the MR816. The analog outs on the octopre’s and the MR are fed to the analog in’s of an Alesis HD24XR 24 chan hard disk recorder as a backup.
The RME digiface and multiface connect to the host PC via the same cable (a firewire cable but it doesn’t use the firewire protocol…it’s much faster). Using this system, I can roll to a mobile recording, hook up the laptop to the digiface and get 24 chan’s of very zero latency monitoring, up to 14 zero latency individual headphone mixes from the RME total mix software (though I usualy use the Cubase control room for headphone mixes) and it’s rock solid.
I can roll the same rack into the studio, pull the cable from the studio rig to the Multiface and plug it into the Digiface instead and instantly have 24 chans of mic pre’s in the studio if I need it. makes the whole system very flexible modular and fast to setup ( I can roll in with the mic pre/digiface rack, a 4 space rack for the HD24, the laptop and an external SATA drive and have everything connected (24 ADAT chans to the laptop, 24 analog chan’s to the HD24, wordclock from the RME Digiface driving everything…all connected, powered up and ready to go in 13 minutes…yes I’ve timed it.
Still leaves mic cables and mics to set up but the system itself goes together very quickly.
Maybe went a bit beyond what you were asking. Sorry,
Really nice. I love the sound of this and the way it makes me feel. It’s honest.
The brush hit kit is a very nice touch.
My only nits, and they’re just my preferences, really, is the pause at :34 - I wish the drums
would’ve paused there as well.
Also, the backup vox are as loud if not louder than the lead vocal in spots. My attention goes right to the female
voice when it comes in - so perhaps it should be pulled back a bit, so it’s audible, but let the lead
voice be the lead voice.
No, I’m interested in what others are doing, thanks for explaining. I don’t have a latency problem with mine on either my XP laptop or my W7 desktop machine, but you’re doing much more sophisticated field recording than I am. However you get it to work, it’s doing a great job!
Hope it helps…if you’re interested in the techie geek side of it, if you go to my web site, there’s a page out there called “Session bLog’s”. look in there and I have a pretty extensive writeup on the design/setup of the system. I’m now working on a new monitoring rack for the system (Behringer ADA8000 A/D/A convertor, ART HeadampPro6 headphone amp, Crown D75a power amp). It’ll take an ADAT out from my Digiface, convert it 2 8 audio tracks to use for headphone or speaker monitoring and/or I can take along an old pair of Tannoy PPBM 6.5’s as recording monitors (if f I happen to be able to set up a monitoring rig in a seperate room).
Basically, the system becomes…1 rack for the mic pre’s and Digiface, 1 rack for the HD24 backjup recorder, 1 rack for expanded monitoring (multi headphones and/or nearfields). Can bring any or all of them so it makes the system very flexible.
Came back for another listen. (Great singing - wish I could do that!)
As an acoustic guitar geek, I’m tempted to give you a lesson in the many acceptable ways to honor and pay homage to your acoustic guitar, albeit however temporarily “yours”. Praying to it is obviously a very robust and time-honored
tradition, but I realize it’s not for everyone. Throwing rose petals in its case after every session is popular in many parts but I favor the unorthodox Scottish alternative of broken, or worn out, plectrums - or if you are fingerpicker, like me, broken fingernails. Others, too, prefer just to make sure it rests in a controlled environment of about 25 deg. C and 50% relative humidity. I like to do that. I also like to smell the soundhole.
Thanks Dave. I like the MR as a mic pre/converter. I held off on the RME gear for quite awhile but once I tried it I was hooked. Their hardware is built like a tank, and their software/drivers/utilities are simply fantastic. Worth every penny in my opinion.
Hhhmmm…smelling the soundhole…dont you have to register with the state or something for doing that??
Actually, I must admit, I’m a sometimes woodworker/cabinet maker and there is something about walking into the shop on a warm day and smelling a stack of rough cut walnut, or hickory. Makes the morning cup of coffee taste really good somehow.