That 'resonant peak' at about 190 Hz would really add up through the compression, delay and reverb. Makes a huge difference to the final mix. Great job!
One more free plugin I can highly recommend for this is the TDR Nova - it's basically an EQ/compressor, but... it allows you to apply the compression to a specific EQ band. This saved my sanity when mixing fingerpicked acoustic guitars, as you can compress just that thumpy 100-200 Hz range but not thin out the guitar in higher-pitched sections. Another trick I use is to apply this to the high range to compress fretting hand noises. And great video as always! I need to try some of these :)
Nice, thank you! For the moment I have to record my acoustic through its piezo which mostly sounds "muffy" - maybe these adjustments help there, too. I'll have to try. :)
@@chordsoforion I've started doing this too, think it was in a Rick Beato video. Positioning the mic 6-12 inches away from the 12th fret but angling it towards the very end of the fretboard gives a very bright sound without getting a ton of low freq build up. It's become my go to placement!
@@chordsoforion Weird! I posted a reply 8 hours ago but it disappeared. Anyway, I use a Shure PGA58 5-6 inches away, about 45 degrees to the sound hole (back of the mic toward the top of the guitar, head of the mic aimed at the middle strings. Then I angle the mic away from me 20 or more degrees, so the head of the mic is over the higher-pitched strings. That way, the frequencies are spread out out pretty evenly, and if I want more bass, I just drop the guitar a bit. Works really well on both Spanish guitar and 12-string acoustic. :-)
That 'resonant peak' at about 190 Hz would really add up through the compression, delay and reverb. Makes a huge difference to the final mix. Great job!
Totally agree and thanks!
The stereo trick with the Polyverse effect blew my mind! Thanks for the video!
As a predominantly acoustic player, these are some great tips. Thanks for this, Bill
Thanks for demonstrating that the plug-in doesn’t fall short when going to mono… sounds lush!
I'm surprised that even after all that highpass filtering the result is still not treble-y and quite solid! thanks for the tips!
Thank you Sir, this is EXACTLY what I needed! Subbed
One more free plugin I can highly recommend for this is the TDR Nova - it's basically an EQ/compressor, but... it allows you to apply the compression to a specific EQ band. This saved my sanity when mixing fingerpicked acoustic guitars, as you can compress just that thumpy 100-200 Hz range but not thin out the guitar in higher-pitched sections. Another trick I use is to apply this to the high range to compress fretting hand noises.
And great video as always! I need to try some of these :)
Thanks a lot Bill!!! Very very interesting lesson!!!
I would add that your process translates well for most quality DAWs.
Yes indeed!
Very educational. Thanks!
Nice, thank you! For the moment I have to record my acoustic through its piezo which mostly sounds "muffy" - maybe these adjustments help there, too. I'll have to try. :)
Many thanks !
For acoustics, I put the mic 5-6 inches away at a 45 degree angle to the sound hole.
How does that work for you Gene? Normally I avoid mic'ing near the sound hole in order to avoid low frequency buildup.
@@chordsoforion I've started doing this too, think it was in a Rick Beato video. Positioning the mic 6-12 inches away from the 12th fret but angling it towards the very end of the fretboard gives a very bright sound without getting a ton of low freq build up. It's become my go to placement!
@@chordsoforion Weird! I posted a reply 8 hours ago but it disappeared. Anyway, I use a Shure PGA58 5-6 inches away, about 45 degrees to the sound hole (back of the mic toward the top of the guitar, head of the mic aimed at the middle strings. Then I angle the mic away from me 20 or more degrees, so the head of the mic is over the higher-pitched strings. That way, the frequencies are spread out out pretty evenly, and if I want more bass, I just drop the guitar a bit. Works really well on both Spanish guitar and 12-string acoustic. :-)
Why 2 limiters in series? What's that do that you couldn't accomplish just one limited?
In many cases you can achieve more "gentle" limiting by applying it in stages.