Recording the Accordion
Вставка
- Опубліковано 1 кві 2018
- Recording the accordion with a sampling of several microphone combinations.
ATM 35 3:45
Sennheiser MT-04N 4:17
ATM 35 & MT-04N 4:47
DPA 4060 6:03
B&K 4011 & Sennheiser MKH 50 13:19
KSM 141 15:38
KSM 141 at Grill 16:28
Royer 121 17:34
B&K 4011 & AKG 414 (parallel to grill) 18:53
B&K 4011 & AKG 414 (perpendicular to grill) 19:27
Nice Accordion
Really enjoyed this! Nice touch. You do honour to the accordion.
I'm recording an accordion player in a couple of weeks so came looking for tips. This was incredibly helpful, and really nicely explained. Thank you.
Brilliant advice. Thank you, David.
Thanks for the great video! I've been thinking about upgrading my recording system, and you gave me some great things to think about
Thanks Dave! I'll have to come back to this for our next recording effort.
Great demo, thanks!
Thanks for the video David. I have an upcoming recording session with an accordion and this was extremely helpful
There's so much to learn from this video! I'm actually doing multiple experiments and the biggest issue I'm facing is bleed and phase issues between microphones. What worked best for me in terms of phase is having two pencil microphones in XY for the right hand and a gooseneck cardioid for the left hand, although the one I own is a cheap one and has a very high self noise, so my best attempt sound-wise is XY coupled to a large condenser, with an acoustic panel made of rock wool perpendicular to the accordion which helps remove some phase issues. I will be looking for the ATM for sure, your left hand sounds incredible!
Thx David, this was great. I've always been impressed with the quality of your recordings. Most of your mics are outside of my budget but I think I learned a lot about positioning. I'm particularly interested in trying out my Miktek large condenser in a figure 8 pattern. I had not thought about that.
So I did try this out today using my large diaphragm Miktek mk300 ($300) in a figure 8 pattern on the right and my cheapo pencil MXL 606 ($50) on the left and was happy with the results. This video got me "thinking out of the box" both for the figure 8 pattern and using totally different mics on the left and right. thx.
Very useful thank you. I'll be recording an accordion tomorrow and will be trying the Oktava MK 012 mics!
I’m so,sloppy about getting back to these things, so I just saw this. Curious how your experience was with the Oktavas. I realized that I didn’t make it clear that the prices I was giving we’re for a pair of mics. A really great price for what seem to be good sounding mics.
Thank you, very helpful!!
Hi David! I have a Fantini with the Lymex midi system. Would you recomed a tech that repairs Lymex systems? Thank you. eduardoreyesnapoles@gmail.com
Internal mics are great for live sound reinforcement, especially if you can mute your grill. For fine recording results, only properly positioned mics will capture the magical tones of the instrument. I've tested several different internal mi designs -- Limex and Sennheiser etc. and even designed my own. However, in the end they are just too focused on the reeds. It can work in conjunction with outboard mics for particualr effect but absolutely not on its own.
Thank you! nice video. KIMAFUN accordion mic can use for accordion too.
Are you tested Atm350? Is it as good than 35?
Nice and informative vid, thanks! :)
Hi Dave! I'm watching this again after a couple years. Any recommendations on mic preamps that play well with these mics and the accordion?
I use Forssell SMP-2 preamps most often. I use to use Hardy M1s which I also like. They are perhaps slightly more clinical (love them for drum overheads). I would think Grace would also be nice. But my list of the most important items are still artist vision, instrument, mics, preamps and the rest. Engineer is in there somewhere mostly not to make a mess
Many thanks Mr. Lange. Has anyone tried X_Y or ORTF at about 2 feet out?
I’m sure someone has had success with 0RTF on accordion It’s not what generally would work for me. A couple of reasons. ORTF is usually used for larger ensembles but it seems like it could be effective on an accordion in a large room. Not having access to a large room is a hindrance. But probably more importantly being kind of a detail oriented person in recording I often find that I need to tweak one side of the accordion against the other. Since I almost always use a middle chambered read on the right hand it’s almost always overshadowed by the left hand. Miking the two parts of the accordion separately allows me to balance those sounds in the studio. And if I have a note pop out or a noise that happens on one side all of those details I can deal with if I make the sides separately. Eve in performance I use an amplifier so I can balance the left and right side.
@@deedpartle Thank you for your reply. I keep striving for a capture that I as I put it "would be like a personal concert for me." Does your explanation mean that in a small. medium or large room, if I was listening at a distance of 3 feet or more I would hear a less than optimal balance "left to right hand" from your accordion than what you would prefer? And therefore you are tweaking a better balance with mic technique than what is heard without microphones and nor amplification ?
@@deedpartle BTW Lorriane (McDonald) and I were enjoying Electricity 2 nights ago. A great recording.
How to eq an acordeon sound?
This will be a disappointing s answer. I don’t do much EQ. I use to try to smooth our the left hand because compared to the chambered right hand sound it was bright . But no matter how I tried to roll off highs it never sounded natural. I am very careful with levels and the balance between the two sides and even individual notes that are too loud or soft. I always have to pull harder if I move up into the upper range of the chambered middle reed because it just doesn’t cut up there. All that said there may be times where the arrangement is of instruments is such that I want the accordion to pop through more or blend more and I may use a bit of EQ there. Although even there I first try to use the most powerful and magical tool in the recording arsenal…. The volume knob. What I’ve found in my over 40 years of recording is..the order of the importance to getting a great sound is ….the concept of tone of the artist 60%,Instrument 10%, room 10%, Microphones 10%, Preamps 5%, other stuff %5. As an engineer we go to the tools we can easily control . So our new EQ, compressor and effects processor come on in full force.. They should be the last things we gravitate to. Mics are expensive as are preamp. We are not the artist and have no control over their instrument. But as our concept of tone increases we learn that with a gentle suggestion to our artist about the buzzing of his instrument , perhaps pushing down harder on a guitar string , adding some Corning 703 covered with burlap to a reflective wall, getting the mics in just the right spot, these things can improve the sound quality dramatically and costing very little. Sorry I got off on a tangent but I think you get the point. If I was a better engineer I wouldn’t use any EQ. But I’m not. But even though I put EQ low on the list of things to make better tone you should be aware that it is a great tool for destroying good tone. So you don’t want to record with EQ unless you really have to and you know exactly what you want. .Save it for the mix. Good luck.
ua-cam.com/video/FTQsAOKKGSU/v-deo.html solo accordion
stayhomeHi There this is Mr C. T. Boxill-Harris, I was wondering if they need to do the exact same version of Everybody's Got To Learn Sometime, why don’t they just Replace the Synthesiser String Sound to an Musette Accordion sound, and also Replace the Xylophone Sound to a 5 Times More Deeper Chime Bell or Even a 6 Times More Deeper Still Drum Sound, Because it is Still my Very Very Very Very Very Very Very Favourite Song Ever Since I was about 11 Years of Age Thank You 😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉😉😉😄👍😅👏👏😅👍😉👏👏
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stayhomeHi There this is Mr C. T. Boxill-Harris, I was wondering if they need to do the exact same version of Everybody's Got To Learn Sometime, why don’t they just Replace the Synthesiser String Sound to an Musette Accordion sound, and also Replace the Xylophone Sound to a 5 Times More Deeper Chime Bell or Even a 6 Times More Deeper Still Drum Sound, Because it is Still my Very Very Very Very Very Very Very Favourite Song Ever Since I was about 11 Years of Age Thank You 😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉👍😉👏👏😉😉😉😄👍😅👏👏😅👍😉👏👏
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