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Gear / Technical Help => Post-Processing, Computer / Streaming / Internet Devices & Related Activity => Topic started by: nicolaidenmark on March 12, 2013, 08:24:51 AM
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So, recorded first gig with M10 and I'm disappointed!
Recording level 2
Manual record settings
No Low cut filter
Sitting on second row centre, cinema style seats, Bryan's speaker just in front of me and the person in front of me.
Recorder placed between my legs, lying on my seat with mics facing the back back of the seat which was in front of me.
Recording is "wolly" and bas heavy. Needs bas reduction and some mid and treble added.
Using Audacity, what stages should I go through to improve the sound? (UPDATE: I found the bas/treble cut and boost feature in audacity, however, I would like to boost the "body" of the acoustic guitar. How do I add midrange?)
Step by step guide appreciated.
http://www.ng-translations.dk/Bryan%20Adams%202013%20TS%20sample.mp3
Alos, the recording levels (meter) of the internals seemed a little uneven at times, however, still much better than my ECM 719 mic.
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Recorder placed between my legs, lying on my seat with mics facing the back back of the seat which was in front of me.
That was your problem. Get the mics up high.
The best way to test if your recording is going to sound good is LISTEN where your mics are. If it sounds muddy...it will turn out muddy. Not much you can do now, unfortunately.
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Like Mike said...write this one off to experience. And get some external mics.
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Like Mike said...write this one off to experience. And get some external mics.
Well, to my ears, cutting bass in audacity and adding some treble helps a lot. I don't won't to write it off and believe that that is what post processing is for?
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Like Mike said...write this one off to experience. And get some external mics.
Well, to my ears, cutting bass in audacity and adding some treble helps a lot. I don't won't to write it off and believe that that is what post processing is for?
To an extent it is, I agree.
There are limitations at which post production does well, especially without introducing other problems (due to digital artifacts related to EQ processes or other items), thats really what the first two replies were alluding to.
Some rules of thumb I have for 2ch editing are as follows:
1) broad swaths of soft EQ are almost always ok. (so say; a +2db in a gentile bell shape between 500hz and 10khz).
2) narrow "surgical" edits in EQ can be ok or very problematic (so say a +3db between 500hz and 550hz).
3) It's rather uncommon that you'll be able to bring out more of one instrument without adversely affecting a second one, as most instruments share similar frequency bands.
On #3 specifically: you end up trading one instrument poorly represented for an improvement there, but a detrimental effect on other instruments. It's a trade off, there are no easy fixes there. For #2, the reason this could be good or bad is entirely dependent upon your playback. I keep a number of headphones handy (hideously expensive, cheapies, and stuff in between). When I do corrective EQ, I'll listen on my standard set, and then test drive the edits with my other listening setups and finally in my car and on other speakers. If it sounds good everywhere, then I've made improvements, if not, I need to really think about what went wrong. That listening is a skill set that takes practice.
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Like Mike said...write this one off to experience. And get some external mics.
Well, to my ears, cutting bass in audacity and adding some treble helps a lot. I don't won't to write it off and believe that that is what post processing is for?
I don't think post processing's purpose is to replace proper gear and location. It might improve it some, but you know what they say about polishing a turd.
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2nd row centre recording most shows is the worst place to be because the bass has a "doubling effect" where everything sounds really boomy. Add to the fact that your deck was "low" adds a "muddy sound" to things. Invest in some "inexpensive" external mics and a battery box (such as the CA-11 Series II omni bundle that Chris Church/Church Audio has for $120 right now) and things will look up. Mics should be up high as well. :)
As Marshall7 just said... can't polish a turd.
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I, too, agree to get some Church Audio mics and a battery box/preamp. your recordings will improve drastically ;) I mean, look at me, I own a SHITLOAD OF GEAR, including schoeps, and I 100% wholeheartedly agree that the CA14 mics/9100 preamp is EASILY the best bang for your buck and sound better than mics costing much more than the CA14s do ;) As always, YMMV ;)
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But I am in Denmark, so buying from Chris will be shit expensive..., right? Customs and all.
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Ditto on what others have said about external mikes. There has to be some microphone manufacturers in Europe that offer similar products. Seriously, invest in a battery box and a pair of microphones. Otherwise, you will likely never be pleased with the M10. The internal mikes on the M10 are mainly for journalists, not recording loud concerts.
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But I am in Denmark, so buying from Chris will be shit expensive..., right? Customs and all.
contact him and see, even with VAT on top of it, I don't think it will be bad. The alternative is a set of DPA 4060 series.
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There are also Soundman mics which are made in Europe. http://www.soundman.de/en