I also find that these days I’ll use a stereo pair of condenser mics to capture acoustic guitar performances for songs that have very few instruments, whereas I will record in mono if there are a wide range of instruments.
IMO you need more than one mic to truly capture an acoustic guitar, but if it’s going to be an accompaniment with a bunch of other instruments, I find recording with a single SDC makes it much easier to sit in the mix.
Should I post in my profile to please rate my tracks?
Several authors do this and I don’t think it would hurt – at least it’s a reminder for the buyer.
As far as ratings go, for my non-exclusive account I have about a 13% ratings to sales ratio, and for my exclusive account I’m at about 7%. Other authors may get more, but generally I think that only a small percent of buyers leave ratings. You could take a look at the top authors list and see which authors appear to have more ratings as a percentage of sales than others, and then see if they’re doing anything differently.
Really my lame answer is that the only sure way to get more ratings is to get more sales, and that it’s a marathon and not a sprint, yada yada.
Hey Mike, nice work – it looks like you’ve really picked up steam in the last few months!
Careful about the web links, though – that might be considered self promotion and wiped by a moderator.
Mine is a combination of the two first initials of my names to-ra-ha. However I’ll leave it up to you to guess my names
Apparently that’s similar to the way that Sabian cymbals got their names – Robert Zildjian, who founded the company, had three children -SAlly, BIll, and ANdy.
Anyway, my profile name is the one that was given to me – Joel Hunger. I just used my first initial because I hate typing.
That was an excellent exercise! My results:
Perfect pitch – 0 of 12 Relative pitch – 10 of 12
Guess I have to work on both, actually
You must have a lot of patience. I get annoyed just tuning my guitar.
You’re absolutely right – as much as I love to geek out about expensive gear, I think that very few people would argue that the quality of the room and the instrument, combined with the skill of the musician and producer, are going to be by far the biggest factor for how things sound. The mic, preamp, and ADC can only be as good as the source. Case in point – your acoustic tracks sound very nice (I’m guessing with the 603s, not the 57?).
There are a lot of good budget options, for instance with SDCs MXLs, Studio Projects, and Audio Technica have good options in the $100-200 range. But you don’t have to go too far up the price scale to take it up a notch. For instance, Rode NT5, Oktava MK-012, Peluso CEMC6, Shure SM-81 are all quite nice and are all between about $250 and $400 – not cheap, but within achievable range for most musicians for a flagship mic. And all of these have their followings, even amongst the snobbiest gearslutz patrons.
It’s fantastic as it’s like a release from my stress, it’s almost as if my job is my inspiration for my music LOL.
Funny thing is I think there’s very much truth to this. I think if I were doing music full time I would really have to kick myself in the pants sometimes just to wake up and put my time in in the studio. As it is, I do have the family, day job, etc., and so those 5-10 hours a week I have to devote to music are usually pretty focused.
If I had no commitments, I could easily quit my day job right now and live off stock earnings, presumably using the extra copious free time to expand into other areas of the music business, as well as training and improvement. In answer to the question what I would do differently: I would spend a lot more time than I do currently honing the craft of production and composition/arrangement to take myself to the next level. It’s hard to do this when you’ve got about an hour in the evening to use in the studio – you just try to get the next thing produced as efficiently as possible.