To "get the job done".
Shure make a very acceptable range of studio headphones at a reasonable price.
Select model depending on budget.
I think it was the SRH440 model that I experienced at a recent recording
session,
actually quite impressed with the sound compared to my more expensive
Sennh
Many thanks for all responses.
Baby powder with a bit of soap seems to be doing the trick,
will vary the proportions as needed.
kind regards
andy
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I'm about to change strings on my lute, and I understand that applying
a soap/talc mix to the pegs will help with tuning.
So, is that a 50/50 mix?
Should I add any water?
any tips gratefully received
kind regards
andy
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On 30/11/2014 19:13, David Tayler wrote:
I have a few, very simple observations.
Many thanks for taking the time David.
Looking forward to hearing your thoughts/techniques as regards stereo imaging.
(and enjoying guessing at the 'centering trick')
andy
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On 24/11/2014 10:55, Martin Shepherd wrote:
Covering part of the rose seems only to reduce the overall resonance,
It will drop the pitch of the resonance.
You can use this technique to home in on the frequency of a note that you are
playing.
i.e. Play the lowest note on the instrument and
On 23/11/2014 15:37, Martin Shepherd wrote:
I fear there is a natural tendency to think of the rose as the hole that "lets the
sound out", but I think this is a case where intuitive physics lets us down.
Easy enough to check with a microphone, and hear that bass
frequencies are strongly pres
Tobiah wrote:
It's a common misconception that 88.2 is somehow easier to re-sample down
to 44.1. I suppose people think that the software can just throw away
every other sample, but the algorithm even in this case is far more
complex.
It really is simpler.
Filter out all frequencies above
So, considering that Hindemith wrote for many different solo instruments.
Did he ever write for Lute?
andy
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erent microphone positions?
Might be possible to reduce the problem in the first place,
which is better than trying to fix with eq.
andy butler
William Samson wrote:
Hi David,
Can you recall what frequency range(s) is(are) responsible for bringing
out the 'plicky' sound?
T
David Tayler wrote:
Of the Rodes, the NT5 omni capsule is way better than the
Rode cardiod capsule for lute,
right, that's the NT55
less brightness from an omni?
There's also an equivalent mic from SE electronics. SE4
(but the freq response diagram for it shows a sizable bump at 8kHz
Ed Durbrow wrote:
This may be pure gossip,
no, but it more refers to the times when Octava first became available here
(last century).
but I've heard you have to be careful of quality control with the Octavia.
Best if you can try them. Matching may be another issue.
At least if they'r
Dan Winheld wrote:
Hi Edward,
Actually, guitarists have been using tab for decades.
yes, but without rhythm marks ;-)
Andy
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Hi Josh,
partially blocking the soundhole will take the resonant
frequency of the body cavity down, and weaken that resonance a bit.
The sound of the lowest notes will be affected.
You might be able to get an idea of the sort of thing by carefully
bringing the flat of your hand down to shade th
The 'Chapman Stick' itself really is just a plank with strings in 2
parallel groups. (Lowest pitch in the middle).
So indeed, this is a "12 string bass" and it can be seen as a variant the stick,
going a lot of the way back towards a regular electric bass/guitar.
( cf. "Warr Guitar")
Dampers at
t...@heartistrymusic.com wrote:
I mentioned this to a friend who is not a musician, but a brilliant scientist.
His immediate reaction was that the sharp angle of the string going over
the nut to a right angle pegbox would have the same effect as a pulley in
reducing the amount of pressure in l
ectly thin flexible string - but string stiffness
sharpens the higher harmonics.
Bill
On 25 June 2012 09:39, andy butler wrote:
Harmonics on a plucked string are a little bit sharp,
Isn't it the case that harmonics are pure by definition?
David
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William Brohinsky wrote:
When intentionally tuning a cello to perfect fifths, use the octave
harmonic (divides the string in half) on the upper string, and the
'third' harmonic, i.e., the one that divides the lower string in
thirds.
Just for the sake of interest.
Harmonics on a plucked strin
Hi William,
"Mic Gain" 3 position switch on the side of the unit which coarsely sets the
gain of the analog pre-amplifier for the microphone.
"Record Level" fine control of level which does not quite work as it should. Accessed by pressing Rec Button once to go into
pause mode,
heiman.dan...@juno.com wrote:
I stand by my recommendation for Roland/Edirol. The entry level model is labeled R-05,
As well as user reviews it's also helpful to look at the specification, and
even the manual.
.but best of all, there's a site here which has sound samples:-
http://www.wingf
WALSH STUART wrote:
Andy,
I have an 'old' Zoom H2. Is your workaround (below) intended to get a
recording with less noise?
hi Stuart,
In order to be sure of avoiding distortion when just using just the L/M/H control
for volume I often end up with a quiet recording.
In digital recording t
hi David,
good question!
The H2n has a little rotary control for the input/mic level.
The H1 has little up/down push buttons do per form a similar function.
I'd guess that the rotary control on the H2n is actually connected to a good
old potentiometer,
so for H2n answer to your question would
Hi Anthony,
there is also an H1 with a very attractive price tag.
The H2 and H4 are now upgraded to H2n and H4n.
All 3 currently available models use the same microphone capsules so
should all offer the same sound quality.
regards
andy
Anthony Hart wrote:
Dear all,
Many thanks for your re
i've used the Zoom H2 quite a lot.
It depends on how much you want to spend, and what you mean by CD quality.
..and how portable.
The Zoom certain gets excellent results considering that it fits in the pocket
alongside plenty of left over cash.
If you're going to be recording your own cd then
never recorded theorbo before so
like Eugene says I'd try a number of tests to get the right placement.
andy butler
(sound engineer for many years, lute player for too few)
Brad Walton wrote:
Hello folks,
On the weekend I recorded two pieces in a professional recording
studio. I was ac
On Jan 30, 2012, at 11:29 AM, Herbert Ward wrote:
I played an art show this afternoon.
sometimes a slow piece seemed to
dampen the liveliness of the crowd. This happened especially when
the slow piece followed a fast piece.
perhaps this is when they appreciate the
EUGENE BRAIG IV wrote:
Still, I'm guessing the "lutenist" was seated right at the horn with
the other performers arrayed behind.
As the voice has a more reverberant sound than the lute, which
sounds 'close miced' there's little
doubt that you are correct.
andy
To get on or off thi
Many thanks for that.
Very interesting, I've been playing the Recercare 33
and been very curious.
..and some beautiful tabs to play.
re: Recercare 33
does anyone think this could be played
with in kind of "perpetuum mobile" way,
letting the lines blend together a bit more?
andy
ps. anyone unab
boli )
thanks for any hints.
andy butler
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David van Ooijen wrote:
No such thing as a beginner's question.
Thanks for the expert answer ;-)
(and general thanks to the list for interesting reading over
the last few weeks)
Are there any players who reckon that damping is essential?
andy
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David van Ooijen wrote:
The basses are shortish, so a higher tuning would be better, actually.
If the instrument is tuned to g', gut diapassons are possible (if cost
is an issue use fret gut, it really is so much better than any of the
modern materials), otherwise carbon or metal-wounds seem to
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