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Q: Regarding the pieces being shared on the your site, are they being
recorded using Mac with Pro Tools, or the Akai? - from Jonathan
A: I don't
use Pro Tools yet. I have been recording this on to an Akai DR16 hard
disc recorder. It's like using a tape machine. I love the sound. I go
through a Makie D8B desk and a Lexicon reverb unit. Pretty simple
really.
Q: From
what I understand, you have a 'home recording studio'-type setup - I
think I was browsing the pictures on your site and I noticed something
along those lines. My question would be regarding your setup. What
software do you use? What type of mixing boards/controls do you have -
and what would be a good start to get a home recording studio going? -
from Eric
A:
Although I consider my set up to be quite hi-tech it is dated. I
record on to an Akai DR16 hard disc and go through a Mackie D8B
automated desk. I also have some outboard equipment (Lexicon reverb,
and a few different sound modules for my keyboard. I have some
compressors, limiters etc). But in the times we work in now one can do
all this with a lap top. The standard for recording is to use Pro
Tools. All the processors, effects, tracking and editing capabilities
are in this program. Most musicians like to run this program through a
Mac because they are faster and more efficient. If you buy a newer Mac
it will come with "Garage Band" which uses the same principles as Pro
Tools and I think is a good way to get started. Another good program
is Logic. If I were you I would buy some specialist magazines on this
subject and read different opinions that might help you form your own.
Q: Looking
over your website I noticed the pictures of your studio and the
presence of your laptop computer. Do you use it for recording? Writing
transcriptions? What sort of software do you use? - from Kirk
A:
Actually I don't use computers for music. The one you saw is the
screen for the digital desk I use (Makie). I don't use sequencers and
all that stuff. I do program drums sometimes, but that's about it.
Q: I'd
like your input on your preferred method to tune the guitar by ear. I
can get it pretty close but I always have a discrepancy between two
situations that have to do with the B string: either I tune so that my
open D string and my D note - 3rd fret B string are in tune or I tune
so that my open B string and my B note - 2nd fret A string are in
tune. I can't get these two situations to be in tune with one another.
Essentially. I have to choose whether I want my open D chord to be in
tune or whether my open E chord (and similar-shaped barre chords) are
in tune. Any ideas would be greatly appreciated. - from Andy
A: This is
a very personal question Andy. My most important note is the A.
Orchestras use A as THE note to go by. After being satisfied it is IN
I then play it and the top E string together and try and nail it to
the point of perfection. My next move would be to tune the bottom E to
the top one by striking a harmonic (on the low E, 12th fret) to match
the top one. Next I would play the harmonic of the low E on the
seventh fret to create a B which is my guide for the second (B)
string. Now we have two left. For the G string I do it the old
fashioned way: Fret it on the fourth, playing it in unison with the
second string and trying to match them. I then double check by
fretting the low E on the third fret and trying to match them. For the
D string I stay with this open G and listen out for a perfect fourth
interval below the G until I am satisfied I am IN. So now I should be
in tune but there are a few checks to be made: Play a few octaves up
the neck in your own desired places. Intonation is so important with
guitars and it varies from one to another. The G chord is my preferred
template for tuning followed by a D. I make final adjustments by
pulling the strings to flatten them. To sharpen I push down on them
very gently between the nut and the machine head. ALWAYS tune UP to
(as opposed to DOWN) to a note. You did ask!
Q: As
you’ll agree intonation is very important on guitars, I always tend to
tune from g outwards. I wanted to ask you whether you have tried any
the tempered tuning methods such as Buzz Feiten or Fretwave on any of
your guitars? They seem to retain string intonation anywhere on the
neck. - from Evren
A: I
haven't heard of this method. I use the A string as my 'home' and tune
from there. Guitars are intrinsically sharp. This explains why when
you hear sampled guitars they always sound out of tune. Why? Because
they are in tune. Strange but true.
Q: I've been itching to ask you about the mic(s) you use to record
your acoustic guitars (i.e., Rodriguez) for a CD etc. What make do you
prefer or is that something you leave up to the studio? I'm getting to
the stage now where I would like to start recording a bit, and I'm
starting to look for a decent mic for my classical guitar. - from Rick
A: I have
and always will leave that up to the engineer. It's always different.
In my opinion, getting a good sound is more about positioning of the
mic rather than the mic itself.
Q: What
mic do you use when recording the Rodriguez? - from Michael
A: The
mics I use on the Rodriguez are down to the producer.
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