▶︎▶︎ Ultimate Recording Checklist: http://www.homestudiocorner.com/checklist
If I could only give you ONE piece of recording advice – if you could only watch ONE video from me, and then my channel gets deleted forever – this would be it. If you’re a singer/songwriter recording music in a home recording studio, this one piece of advice will improve not only your recordings, but your mixes and your masters. It has to do with what I’m calling the THUMP. If you slay the Low-Mid Monster during recording, it won’t rear its ugly head during the mix, and I’ll show you how in this video.
Also at the end of the video, I give you my simple formula for dealing with any low-mid monsters that make their way past the recording phase and into your mix.
#AcousticGuitar #GIRATS
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▶︎▶︎ Ultimate Recording Checklist: http://www.homestudiocorner.com/checklist
Thank You! Awesome as always! 💯
This was very helpful. Thank you sir
I absolutely LOVE the recording focused content! Please keep it coming if you can!
Thanks Joe do you have a video for recording better vocals ?
The further the mic is from the instrument, the less of a problem you'll have with low end.
Find the thump! Great advice! Thanks also for showing that it was better to take the time to record another take !
What you call thumpy I call proximity boost on the low mids, but your explanation is probably way more digestible by the larger audience. Your lessons are great dude, keep it going. You're helping even commercial guys like me, because over time I'm having less and less problems with people bringing in badly recorded tracks from home for me to track studio drums for.
We need more of these recording videos!
Fine – I'll listen to Kacey Musgraves again…
Great video. I hope to see more of these in the future. Recording acoustic guitars can be a challenge, and this video helped clear up the mud (no pun intended.) Moving the guitar around to get the best sound reminded me of an article I read back in the 80s about how someone used 6 microphones to get what they considered the "best" recorded acoustic guitar sound.
Mic 1 was set up to record the body of the guitar and it was aimed at the flat part of the body behind the strumming hand.
Mic 2 was set up about half way down the neck and aimed at the 12th fret to get more string sound and as little body sound as possible.
Mics 3 & 4 were six to eight feet away and set up like rooms mics for drums.
Mics 5 & 6 were set up fairly close to the guitarist's ears, aimed forward and slightly down.
I believe their philosophy was the first pair (1 & 2) captured just the sound of the guitar and took most of the room out of the equation. Mics 3 & 4 did the exact opposite and only captured the sound of the guitar in the room, and the last pair (5 & 6) captured what the guitarist hears while they were playing rather than them only hearing the audience's perspective during playback. From there they mixed to taste – I can't recall the panning used on the first two mics (probably blended them and sent them up the middle) but I think 3-4 and 5-6 were both panned hard left/right.
I thought the article was interesting but that many mics seemed to be overkill.
If it was a classical guitarist's solo performance or a guitar-vocal then adding rooms mics seemed like an interesting idea, but setting up mics by the player's ears seemed more like it was done because they could rather than actually improving the sound. I thought it would create more problems (especially with breaths) but I'm only guessing because I've never had enough mics to try it.
If somebody had the mics and room to make such a recording the stems would make an interesting experiment to see how many of those mics would people actually use to create what they considered to be the best-sounding acoustic guitar.
Anyway, just thinking out loud. I hope to see more GIRATS recording videos.Thanks for sharing.
OK Joe, here’s a question for you; now what about guitars such as acoustics that you can plug into your audio interface; how would you get rid of the “low mid monster “or ““ the thump! How would that work? I have a Martin DRS one that has a built-in pick up, and I would be interested in knowing exactly how that would work to get rid of that low mid monster or as you refer to it as the thumb.😂
Hay Joe Good Video. Also man I picked up the K47 6 years ago after lovin it on your voice. Still use the thing every day. Lots of mic for the money.
Yes, more videos on recording, please, but so many recording tutorials focus on how to mic things. Please keep in mind: 9/10 instruments go direct these days. What advice do you have on that part of recording?
Hey Joe! I absolutely love your videos, I watch them, admittedly a little too much. I am sure I'm not alone in that I want to get the most out of them, but I often can't hear the detail you're describing in your videos, for example, you make a 3-6db cut, I can't really hear it, you compress something, I can't perceive the difference in volume or loudness. I've noticed the same thing in my testing with my gear. Can you give some advice on the most inexpensive way to listen to your videos and hear what you're talking about? I have some studio monitors (very inexpensive pair) and they are no help. Maybe I'm terrible at critical listening, because it isn't just your videos that I struggle with. I've gone to specific ear-training videos and had very little success at hearing much change between compressed vs uncompressed or reasonable eq changes. –Thanks for your content!!
As a bass player and hifi person, I know how boomy muddiness is often a product of room and placement of sound source, microphone and (for hifi) speakers.
Joe, I would definitely love more recording and production content. I always find it weird how many channels are focused solely on mixing when so many of us these days are doing the whole process ourselves. In my opinion, "mixing" can't be separated into a discrete step the way mixing-based channels act like it can. So many of the decisions we make in production and recording ARE mixing decisions.This is all especially true if you know you're going to be the one mixing and mastering the song later. But even if that's not the case, the best productions will have a rough mix that sounds 80% finished. Mixing is supposed to be about augmenting that. As such, it's not quite as important as people make it out to be (relative to the rest of the process).
Thump-pocalypse! Thanks Joe. I find that Dynamic EQ is helpful in a pinch. :^)
Great 👍 Thanks, Joe. This is exactly the kind of video and information that helps a lot. Real issues well presented. Fighting the “thumpocalypse” 😂👌🎶🙏
I always have the opposite issue. I always seem to be missing low mids 🤔
You had us do the mic placement exercise in one of your courses, I think it was the recording course. I made 12 different position recordings using two different mics, a condenser and a dynamic. The time and effort was well worth the learning obtained.
I would use Spiff on that guitar, that plugin does magic ^^
20 mins just to say move back a little to reduce low mids. 👍🏾
As a home recorder guy doing it for a fair number of years, mixing ain't fun…it's a nightmare…until you slowly get better at song arrangement, getting it right at the source, performance and execution. Then you're half a chance. Which is where I'm roughly at now. For many years recording, mixing and mix translation was bleak. Just terrible result after terrible result after terrible result.
Great video Joe – love your style
Skip to 6:48 unless you want to listen to him talk in circles and promote his courses etc
Very good "thump" lesson. Thanks!
Thanks for the good knowledge Joe! We recorded our music in our practice space then did vocals, mixing and mastering at a local studio. Everything sounded good in the studio, but something seemed to be lost in the mastering process. It also sounds way different on Spotify than it did in the studio control room when we listened to the playback during mixing and master. The bass vanished on a few of the songs. Maybe there were too many guitar tracks on the song and that made the bass seem buried.