by Tonio » Wed Sep 03, 2003 6:20 pm
Thanks Raymond and Johnny,
I realize most recordings currently are done in a rythmn section 1st then overdubs, vox etc. later. I personally have been in various studios for differing venues. From the "live"
everyone performing togetherwhile being recorded, and maybe add vox, solo later, to the current style of the ryhtmn section e.g. drums, bass, percussion, with maybe vox or lead instrument to "babysit" the song format.
I started with a band maaaaaaannnnny years ago, so it was
a"live" type recording session. But lately I have been more on the "free lance" type sessions, so I would go in later as overdubs. Which is fine because I have mostly been doing smooth jazz/ funk kind of stuff.
I've been away from gigging for about 2 years, and started learning more about Music Theory, and dabbled on the piano. Also I started geting into recording at my "home studio" Went through all the acoustic treatments etc..
Sorry for the long story.
But Iv'e been recording mainly in the jazz/latin jazz vain, with some dabbling in the Salsa side. I have no problems with contemporary stuff -jazz etc., but with Salsa, I can't get the tone that's required.
The tone I refer to is for congas. It is so different, mostly due to them being more prominent, and less covered by trap drums. I have read books, went to UBB forums of allkinds.
Most progressive/contemporary recording folks say just put up a SM57, yeah right. Some have said to mic underneath and above. I have read some other weird ones .
Sometimes I think its the equipment that lacks, but it doesn't seem to be so. Maybe a little more diversity in dynamic processors or mic choices?
So basically, I was trying to find other typical conga micing technics, plus any outboard processing scenarios that anyone here has experienced.
Try to get that sound.......
Tony