Cable length in acoustic recording session

[musicman691]

Originally Posted by Voideco

Got the picture compatible. Only I wanted to have it shown in this post but no luck.

Note that the blue bar in the left is my recording desk. The 'vertical' walls are about 4,5 meters so the room is almost square. My conclusion is that there is little need to be affraid of phase cancellation, correct me if I'm wrong please. If any phase shifting occurs just drag the tracks minitiously to correct.

If your room is almost square phase issues will be the least of your worries. I'm talking room mode resonances. You're going to get clusters of freqs that can and will make your sound unbalanced and very difficult to make decisions when listening back to recorded audio. Spend some time and money getting your acoustics down first and then worry about phase issues.

Pay close attention to mic positions not only with respect to teach other but also distance from the sound source. There are several miking techniques that will help lessen phase cancellation during. Google is your friend with this.

[Voideco]

Originally Posted by musicman691

If your room is almost square phase issues will be the least of your worries. I'm talking room mode resonances. You're going to get clusters of freqs that can and will make your sound unbalanced and very difficult to make decisions when listening back to recorded audio. Spend some time and money getting your acoustics down first and then worry about phase issues.

Pay close attention to mic positions not only with respect to teach other but also distance from the sound source. There are several miking techniques that will help lessen phase cancellation during. Google is your friend with this.

Yes I was also thinking of balancing the acoustics of my room. Unfortunately this will be a too expensive project because I am at the bottom of my resources. It would be a good thing nevertheless. I just make the best of what I´ve got.

About mics and their sound sources; I thought the MS57 is only for close miking as a voice mic. Same with the M88. I will experiment with their respective angles, position.

[musicman691]

Originally Posted by Voideco

Yes I was also thinking of balancing the acoustics of my room. Unfortunately this will be a too expensive project because I am at the bottom of my resources. It would be a good thing nevertheless. I just make the best of what I´ve got.

About mics and their sound sources; I thought the MS57 is only for close miking as a voice mic. Same with the M88. I will experiment with their respective angles, position.

Without good acoustics you'll never get a decent translatable sound. You really need to fix that first especially given your room dimensions. Otherwise you're just wasting your time. Until you fix that all the mic positions in the world won't help you at all. Remember that no matter how tight the pattern mics will pick up room sound to a certain extent.

SM57 is a go-to mic for guitar cabinets; it can work for vocals but it ain't the best. The SM58 (I guess that's what you're talking about) would be the better thing for vocals. It's not what I would use as a first-call studio mic but for live vocals it's pretty damned good. It's the mic Roger Daltrey uses for live work.

[Voideco]

Originally Posted by musicman691

Without good acoustics you'll never get a decent translatable sound. You really need to fix that first especially given your room dimensions. Otherwise you're just wasting your time. Until you fix that all the mic positions in the world won't help you at all. Remember that no matter how tight the pattern mics will pick up room sound to a certain extent.

SM57 is a go-to mic for guitar cabinets; it can work for vocals but it ain't the best. The SM58 (I guess that's what you're talking about) would be the better thing for vocals. It's not what I would use as a first-call studio mic but for live vocals it's pretty damned good. It's the mic Roger Daltrey uses for live work.

Yes I noticed the SM58 sounds alot better than the ~57. Somebody posted a link to a comparison page.

[sigh] So thereś no way to avoid improving room acoustics, oh my! And to purchase a SM58. Looks like the devil playing with it. There's two options for me here: I can now just do it all and spend my last $1000, and if my washing machine dies I'll have to go to the laundry shop. Option two; see if I can earn some money by lending a helping hand here and there, I am working on that anyway but it is not sure when/if/how much I can make by that. As of now I'm living on a balls squeezing budget so it will take courage to take the step. But all that is something to discuss elsewhere.....

[jjnssn]

Originally Posted by musicman691

Without good acoustics you'll never get a decent translatable sound. You really need to fix that first especially given your room dimensions. Otherwise you're just wasting your time. Until you fix that all the mic positions in the world won't help you at all. Remember that no matter how tight the pattern mics will pick up room sound to a certain extent.

What musicman691 has provided is the best advice you will get. It doesn't feel elegant and as cool as a top of the line mic pre or mic however it could make a significant difference and from my experience it does.

Take an afternoon and checkout places that offer free room analysis and room configuration based on their offered treatment types, (GIK Acoustics is an example). This will give you an idea of what you are up against.



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[Voideco]

The recording will be not a band with a couple of conventional song structures. I have other demands for this little project.

It will be a soundhealing. That means; didgeridoo, singing bowls, shamanic drums, rhythm egg, rainsticks and all kind of exotic bells and whistles. The woman I work with also uses her voice because she has achieved very good results healing peoples with that. And I do soundhealings some times and all the participants are first deeply relaxed, then euphoric and then well in balance as they discover the days after the session.

As this is the first time I work with this lady, and she hasn't seen my place before, we need to work in a comfortable way with a good energy in the room. And I want her to be convenient here, after all it is our first try out albeit an important one. My aim is not only to record the session, but to see if we can perform together for groups of peoples lying on their matrasses. So the goal is two-fold.

Therefore I lean towards the decision, after all this, that it might be the best thing to keep it simple and refrain to using only the AT's. They will pick up al the sounds in the room. So that she doesn't feel akward moving around all the microphone standards that might disturb her flow. Then; we can go full force for an inspired healing session which will encourage both of us to collaborate. On location, to earn some money and maybe later in the studio that I will improve with the money earned. Think that will be wise. Brings perspective on earning money and on a collaboration, and that will make it also worthwhile to invest in the acoustics later on. Decisions, decisions, decisions.....

[Voideco]

Originally Posted by jjnssn

What musicman691 has provided is the best advice you will get. It doesn't feel elegant and as cool as a top of the line mic pre or mic however it could make a significant difference and from my experience it does.

Take an afternoon and checkout places that offer free room analysis and room configuration based on their offered treatment types, (GIK Acoustics is an example). This will give you an idea of what you are up against.



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Yes I'm completely aware this is a must. Will do me more good than anything right now so I'm not throwing the advise in the wind. I will probably just do it and I have some knowledgeable guys helping me on this. But it is a difficult situation. The money doesn't grow on my back. Plus the room will be a mess for +/- two weeks and I have to move and cover the gear. Just give me some time. I am not a professional producer with lots of clients and facilities, just a gearslut with some ideas. Still these ideas are serious and deserve a serious approach. But I just cannot work as fast and indepth as a professional sound engineer. When things are getting too complicated my mind blanks out and my head is empty like a tibetan monk. I wish I could do all the things a decent sound engineer can do but it's just not like that. So I have to go slooowly. So please bare with me .

[Voideco]

Plus I have to say the amount of help I get from you is fantastic. More info than I can process in a short time so please don't think I let you do all the thinking in my place. I will surely pick up from your info what I need in time but as of know I keep it as simple as possible right now. Damn burnout keeping me at low pace

[cwsand]

Originally Posted by Voideco

Yes I was also thinking of balancing the acoustics of my room. Unfortunately this will be a too expensive project because I am at the bottom of my resources. It would be a good thing nevertheless. I just make the best of what I've got.

There are other things you could use to cut down on reflections between parallel walls - blankets, egg cartons, bookshelves, etc. If you walk around the room and clap, it will give you some indication of what the reflections are doing.

[Voideco]

Originally Posted by cwsand

There are other things you could use to cut down on reflections between parallel walls - blankets, egg cartons, bookshelves, etc. If you walk around the room and clap, it will give you some indication of what the reflections are doing.

Thinking of plastic foam. You know these thin nop matrasses? Attached to removable surfaces so they don't stick directly to the walls. Doesn't take up too much space in the room and I can have somebody do it for me for a friendly price. The room just needs improvement, simple as that. If I do it, then do it thoroughly and let it cost some. Pays out later on. Heck why not just do it Else I'm posting here for nothing.