Finally the first song in 2014, and hopefully not the last. I’ve made it with the main idea of testing my new acoustic guitar, Yamaha A3R. Santa’s brought me also to a very good price for being an exposure model one. Thanks to the friends of AGL Musical, in Majadahonda.
These are the main features:
- Dreadnought single Cutaway
- Innovative S.R.T. (Studio Response Technology) preamp/pickup system, devised by the sound engineer Ryuichiro “Rick” Kuroki. This is a pre-digital modeling technology, which emulates the tone of the 3 most important market microphones (Neumann U67, Neumann KM56 y Royer R-122). Emulations were obtained for 3 years in the best recording studios in Tokyo, Nashville and Los Angeles (Warner Chappell, Ocean Way, East West, NRG, ABS …). Includes a convenient and accurate tuner.
- Solid Sitka Spruce Top
- Solid Rosewood Back & Sides
- Mahogany Neck
- Ebony Fingerboard & Bridge
Here’s pics of my new gem:
Recording process, gutting the track:
Returning to the song, the first song that came to my head with an acoustic guitar as a reference was Cien Gaviotas by Duncan Dhu that much liked in my teens, and has been the model that I have set as a sound reference.
The first problem I had was to find a virtual tambourine sound. As I had none, looking online I found an American colleague who lent me some wav files (thanks Ethan!!), but in the end I finished using the plugin Tambourine Rithm Teck from Addictive Drums, that convinced me more. As I wanted a more realistic sound I stole from my little girl, with great anger on his part, a shaker and recorded it with a mic for the chorus in the part where the tambourine starts.
The next hurdle was to find a snare drum with brushes hit. After much searching I ended up staying with the usual battery kit in my songs, the Nashville from EZ Drummer plugin. In short, the song uses both kits, the Addictive Drums and EZ Drummer, depending on the timeline, apart from the shaker from my daughter.
Time for recording acoustic guitar. I made two recordings, one for arpeggios and other for chords. In both I recorded two tracks in real time:
- One track left panned recorded with HST-11A microphone from Alctron connected to TLAudio FAT FUNKER preamp, and then to the RME Babyface soundcard.
- Another track right panned with a guitar cable connected directly from the SRT guitar to the Babyface analog input.
I think in the end it has given an interesting environment being two different audio sources, although recorded at a time.
Bass guitar has been recorded by line directly to the FAT FUNKER and then to the Babyface.
The various electric guitars connected by line to POD X3, from Line 6, with the effect directly from the POD, then to the FAT FUNKER and finally to the Babyface.
I did my best with the voice recording it through the HST-11A mic connected to the FAT FUNKER and then to the Babyface. Then I used the Autotune plugin from Antares to fix the various parts that went out of tune.
For monitoring I used ADAM-A7 speakers and AKG K271 MKII & FOSTEX T50 RP headphones.
I think I have already gutted all the pottery used. Now is time to listen the song, I hope you like it, I’ve had a great time recording and composing it! It’s been almost 4 months of work, at times, of course.
Yes, what started as a short and simple track has gone a bit out of hand with my progressive vein and finally the track is lasting about 8 minutes, please be a little bit patient.
I call the style “Progressive Pop“.
I have used for mastering as reference album Deadwing by Porcupine Tree, whose sound I love, the album is amazing, totally recommend.
If you liked the song and want to help the cause you can buy it for only $0.99.