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Anyone here into recording yet?

Would like to discuss recording/mixing and processing methods etc...

T

Personally, I have never recorded but seen the recording of several "salsa" records. Can't tell you too much about the "micking" but usually everybody is isolated withing walls.

In salsa, the rhythm section records first. If all the rhythm section will record at once or just by parts, i.e., piano and bass first or conga or one by one, depends on the producer. After each musician records, things are fixed (or re recorded in small portions, depending if anybody miss a note or made a mistake. Later the brass is recorded, the chorus and last the singer. The mixing is later done by the producer and engineer. No rehearsal involved in most salsa recordings. Is show up, rehearse once and record.

In salsa, they are trying to go to the "vintage" sound of the golden era back in the 70s when everybody recorded and have more 'ensemble' feeling. Lately, I have seen some recordings with everybody at the same time, except the vocals.

Hello...I have done a bit of recording. On my first CD we recorded "Live" . I hate recording in pieces, it loses a lot of spontanaeity, if you record in parts. We did most of the tunes in the first take,believe it or not, it can be done when you are well rehearsed and you have great musicians. Today it's done in pieces which leaves a lot to be desired and no spontanaeity. Also every studio is different for approach ,size of room and equipment available. Now if it is just a "session" for an artist or commercial purposes is another story. so what would you like to know?.....At your Service...JC JOHNNY CONGA...

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

Raymond, have you noticed the mic placements for the percussion on those sessions that you attended? I imagine every engineer has his own prefered techniques. Someone told that Jimmie Morales (one of the most recorded congueros in Puerto Rico), prefer these days to record by playing standing up and miking the tumbadoras from underneath, can you confirm these?

Saludos,

Jorge Ginorio