Okay, i stink… not just me personally, but my playing. I realize that, you realize that, I KNOW you realize that you realize that… but just trying to do what I can… and I think if I can at least get the right eq levels set, the little ensemble thing we are recording will at least not sound worse than it does in person.
note: just in the middle of that reality check that comes from recording and having the nakedness of one’s own playing exposed with all the rolls, moles, etc…
So, have good software, good mixer, good C1000 mic, good room,… any suggestions to run against my own discoveries would be much appreciated.
With an AKG mic I’d just roll off some high-mids but thats only if you’re recording alone in an isolated room.
if you’re recording with a group roll off a good bit of low end too to avoid foot taps and wind noise.
First and foremost, stop being so hard on yourself. You are a fine player and you have an amazing set of pipes, so you WILL be able to make a great contribution to this recording.
Knowing the response characteristics of the mic(s) you are using will make take you a long way toward getting the sound that you want. Tommy is spot on with his recommendation to roll off some of the high mids that can make the chanter sound harsh and too “present;” although, some mics will exacerbate the issues with those frequencies and others will be “kinder and gentler.” Let’s face it, you generally get what you pay for, and many high end mics are worth renting because of their response and tonal qualities.
I can offer this recommendation. Don’t be so quick to use EQ. Putting some thought into the characteristics of the mic you are using and placing that mic properly will address a lot of the issues that are frustrating you.
This is a complex topic. Mic placement, room, your individual chanter/reed, all of those factors weigh in…heavily. I think you shouldn’t get caught up in “what eq settings” you should use. That’ll bog you down, and again…the elements mentioned above weigh in. My suggestion is;
Zero the EQ, Record, and see how it sounds. Move the mic around, and try again. After you’ve done that (sometimes this will take many takes/experiments before you find the best place for the mic), then fiddle with the eq pods. Use your ears, if you like it… cool, of not…don’t use that boost, or cut in the frequency/s. Ask your band mates about how it sounds to them, the engineer and/or the producer.
Some of the best producers in the world use the, “if it sounds good…it is good” (Duke Ellington’s words) philosophy. Try it, take a deep breath, and come up with something good!
When recording anything I like to start out with a raw, unadulterated source. Then I’ll take the soundclip and apply the effect, and fiddle with the settings until it sounds good to my own ear. I apply some light compresssion and then apply effects only on one channel so I can mix them maybe 50/50. I like a little reverb simulating a 20’ room maybe, depending on the feel I want, with a nice little tail. Maybe some very light chorus. sounds very nice.
For EQ, keep in mind the musical range of the pipes. No need to blast the subs for irish gangsta OOMPH rattling the entire cadillac. keep it simple and subtle is my rule, but that’s my rule.
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