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  • Collaboration Status
    3. Very Interested
  • Software - Digital Audio Workstation (DAW)
  • Instrumental & Vocal Skills (List)
    Electric Guitar: Rhythm


  • Real Name
    Jonathan Fox

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Jonathan!'s Achievements


Newbie (1/14)

  1. I'll give this one a go. As a heads up, the deadline in the original post is wrong (Tuesday 5th July doesn't exist)
  2. I am not too bothered about style - something classical would be great. I am particularly interested in the closer mics if possible?
  3. I am not hugely into shred guitar but I do rather like Paul Gilbert: (he also has the best guitar playing face on the planet: )
  4. From my perspective, I was an idiot about it. When I signed up, I never considered if I was even available when I signed up (e.g. I had a 5 day vacation planned and then I had to practice for and play at all of the Easter services...). I would like to apologise to Mark Sparling for taking the place and not using it and to Timaeus for wasting his time. I would say that you are fully justified in taking it, your entry was great and fitted the theme really well. I liked how it was put together (including the text!).
  5. I don't personally know about anything that is super cheap but the focusrite scarlett solo is a solid interface, $99 and is available for express delivery on Amazon: http://www.amazon.com/gp/aw/d/B00MTXU2DG/ref=mp_s_a_1_1?qid=1428389368&sr=8-1&keywords=Focusrite+solo&dpPl=1&dpID=416Av%2BdRR8L&ref=plSrchπ=AC_SX200_QL40 It works on Mac (they even have a specific mac set up video on their website). Here is some peace of mind: http://uk.focusrite.com/answerbase/are-focusrite-products-compatible-with-osx-yosemite If you are wanting something that you can get quickly and is guaranteed to work then I would go with this. It may be worth holding out though to see of anyone has a cheaper solution. Edit: amazAmazon alsalso sell the focusrite itrack solo for 80 dollars. I am not 100% about the differences but it has a guitar input, is well reviewed and is compatible.
  6. For RWS you can contact me by PM or on Skype pretty quickly.

  7. Thanks for clarifying I don't have any preference, I am happy to work with anyone.
  8. How are the teams decided? Do we preferences or is it random?
  9. Some really nice entries there. Congratulations to Yoshiblade on the win!
  10. I would like to sign up again please - last round was great fun I am happy to work with anyone whether it be Cyril (who gave great advice) or someone completely different.
  11. I would say that Cyril is underselling himself here. Although the guitar performances and processing are mine, Cyril was the one who pointed out techniques such as reverbing the guitars which I wouldn't have considered otherwise. As far as the timing goes, this is something that we were aware of but decided to ignore because of time constraints. I agree with the comment about 1:35 - it is something that was originally intended but again dropped because of time / recording practicalities. With regards to bleep expression, I tried to get it to work but to no avail With the ending, it was 100% my fault. It sounded good when I was tired and about to submit... Thanks a lot for leaving your feedback, I really appreciate it (I definitely feel much better about the guitars). I will try to leave my vote / feedback tomorrow.
  12. Submitted! Thanks to Cyril for (amongst other things) teaching me that there is no such thing as too much delay
  13. Thanks for you help. I do have an SM58 lying around so I might try sticking that on the bottom as per Darangen's suggestion. I think you are definitely right about close micing Yasae. From what I have read ambient micing a grand piano in a small room is a recipe for disaster (there isn't really enough room for ambient micing anyway). Do you have any suggestions on how to make it more classical sounding in post? (e.g. is there any particular type of reverb that you would recommend / any other processing? Or is it just a case of playing around and seeing what sounds best?) For anyone reading this in future, I found these 2 resources: - Very indepth, loads of examples of mic positions and a discussion of the benefits of each: http://www.soundonsound.com/sos/jan08/articles/pianorecording_0108.htm - A simple video demonstration of 3 close mic techniques in video format:
  14. I am planning on recording my piano teacher's acoustic grand piano on Saturday and was looking for some pointers. As a quick disclaimer, I have never miced anything before so please assume that I know nothing I have managed to borrow a matched pair of Rode NT5 cardiod condenser microphones from a friend and I will be using my Scarlett 6i6 interface. We will be recording an hour's worth of classical music in a small room (no space to move the piano, even if we could lift it). I have the the following questions: a) What mic techniques would you recommend? I have seen videos of X-Y, ORTF and A-B. Would any of these be suited to classical recording in a small room? From the demos that I have heard (e.g. this link) I rather like the sound of ORTF but I am unsure how difficult it is to pull off properly and how suited it is to classical music? Is there a good example that you can provide of your preferred micing technique? There seem to be many variations of individual techniques out there... Are there any rough rules about where to place the mics? The position where the treble and bass strings seems to be popular from what I have read. Is there a general rule for mic height or is this just something that you need to play with? c) Are there any pitfalls that you can warn of or any helpful tips? Thanks, Jonathan
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