Acoustic Guitar Tone & the L1®: Difference between revisions

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'''~~From~~ Tom Munch'''

'''by Tom Munch'''

'''3/3/2007'''

[[Image:TomAvatar02.jpg|right]]

''Here are some initial ideas on getting acoustic guitar tone.''

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'''From the forum "Tom Munch's Acoustic Guitar Sound" 5/4/2006'''

'''From the forum "Tom Munch's Acoustic Guitar Sound" 5/4/2006'''<ref>[http://bose.infopop.cc/eve/forums/a/tpc/f/6366055944/m/8101040623?r=8101040623#8101040623 Tom Munch's Acoustic Guitar Sound] discussion on the Bose Musician's Message Boards</ref>

Let's talk about acoustic tone. I searched for the holy grail for years. I have a couple dozen pickups & a dozen high-end preamps to show for it.

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One guitar was a Goodall grand concert with a Sunrise, a Fishman SBT (soundboard transducer), & a Joe Mills mic. A custom 4-conductor plug & jack (TRRS) fed each of the pickup signals through a 9-conductor cord (built for 3 discrete mic signals) to 2 Fishman Pocket Blender preamps. Blender 1 processed the Sunrise & SBT & mixed those to the pickup channel on Blender 2 while the Joe Mills went to the mic channel on Blender 2. The Sunrise was EQ'd with bass full up & the treble full down. The SBT was flat on bass & to 3 o'clock on the treble. The Mills mic was EQ'd with bass at 3 o'clock (or full up, I can't remember) & the treble about 11:00. The output of Blender 2 then went to channel 3 of the L1.

[[Image:TomMunchAvatar01.jpg|right|Tom and his Pederson taken at Big Sur April 2006]]

The other guitar was a Pederson small body custom guitar with a triple system from Pickup-the-World (2 top sensors & 1 under-saddle sensor) & a Joe Mills mic. The combined PUTW pickups & the Mills mic went through a stereo jack & plug through a Mogami 6-conductor cord (built for 2 discrete mic signals) to a Rane AP 13 preamp. The PUTW was EQ'd with the 40 Hz at 6dB boost & the rest flat, & the Mills mic was EQ'd with the Low Cut at about 250 Hz & the rest flat.

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'''Another thought from me on that thread:'''

One of the things that is most important is the touch. You hear great players talk about this all the time. What I posted vocally about playing at 40% with intensity - that's what it's all about for me. It's like stroking a cat softly around the ears, or feathering your car's throttle ever so lightly, or kissing your love with great passion & & gentle tenderness. Do the same thing for your guitar. (I know how odd this sounds - LOL.)

One of the things that is most important is the touch. You hear great players talk about this all the time. What I posted vocally about playing at 40% with intensity - that's what it's all about for me. It's like stroking a cat softly around the ears, or feathering your car's throttle ever so lightly, or kissing your love with great passion & gentle tenderness. Do the same thing for your guitar. (I know how odd this sounds - LOL.)

''Here's what I had posted about vocals...''

''...one of the things I did was turn up the master to 2 o'clock & then whisper into the mic. I believe in playing with intensity at 40% instead of the 80% that most guys like to play at. That can make a HUGE difference in tone.''

'''Another thought - 3/13/2007, Finding the Sweet Spot'''

Another way to express these thoughts is "finding the sweet spot". That is a phrase that applies to an awful lot of life. The best tone is in that sweet spot guitar-wise, vocally, in any instrument & performance. Find that sweet spot of tone that really gets you off & work with it. There are sweet spots in many ranges & volumes on every instrument. There are also sweet spots with mics & even the L1. Find those magical ranges & work in them to find every nuance & expressive conduit available.

----

Related: [[Vocal and Guitar Performance Techniques]] Video by Tom Munch

[[Category:Editorial]]

[[Category:Acoustic Guitar]]

[[Category:Guitar]]

@@ Line 1: / Line 1: @@
-'''From Tom Munch'''
+{{Editorial}}
+'''by Tom Munch'''
 '''3/3/2007'''
+[[Image:TomAvatar02.jpg|right]]
 ''Here are some initial ideas on getting acoustic guitar tone.''
@@ Line 13: / Line 14: @@
-'''From the forum "Tom Munch's Acoustic Guitar Sound" 5/4/2006'''
+'''From the forum "Tom Munch's Acoustic Guitar Sound" 5/4/2006'''<ref>[http://bose.infopop.cc/eve/forums/a/tpc/f/6366055944/m/8101040623?r=8101040623#8101040623 Tom Munch's Acoustic Guitar Sound] discussion on the Bose Musician's Message Boards</ref>
 Let's talk about acoustic tone. I searched for the holy grail for years. I have a couple dozen pickups & a dozen high-end preamps to show for it.
@@ Line 23: / Line 24: @@
 One guitar was a Goodall grand concert with a Sunrise, a Fishman SBT (soundboard transducer), & a Joe Mills mic. A custom 4-conductor plug & jack (TRRS) fed each of the pickup signals through a 9-conductor cord (built for 3 discrete mic signals) to 2 Fishman Pocket Blender preamps. Blender 1 processed the Sunrise & SBT & mixed those to the pickup channel on Blender 2 while the Joe Mills went to the mic channel on Blender 2. The Sunrise was EQ'd with bass full up & the treble full down. The SBT was flat on bass & to 3 o'clock on the treble. The Mills mic was EQ'd with bass at 3 o'clock (or full up, I can't remember) & the treble about 11:00. The output of Blender 2 then went to channel 3 of the L1.
+[[Image:TomMunchAvatar01.jpg|right|Tom and his Pederson taken at Big Sur April 2006]]
 The other guitar was a Pederson small body custom guitar with a triple system from Pickup-the-World (2 top sensors & 1 under-saddle sensor) & a Joe Mills mic. The combined PUTW pickups & the Mills mic went through a stereo jack & plug through a Mogami 6-conductor cord (built for 2 discrete mic signals) to a Rane AP 13 preamp. The PUTW was EQ'd with the 40 Hz at 6dB boost & the rest flat, & the Mills mic was EQ'd with the Low Cut at about 250 Hz & the rest flat.
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 '''Another thought from me on that thread:'''
-One of the things that is most important is the touch. You hear great players talk about this all the time. What I posted vocally about playing at 40% with intensity - that's what it's all about for me.  It's like stroking a cat softly around the ears, or feathering your car's throttle ever so lightly, or kissing your love with great passion & & gentle tenderness. Do the same thing for your guitar.  (I know how odd this sounds - LOL.)
+One of the things that is most important is the touch. You hear great players talk about this all the time. What I posted vocally about playing at 40% with intensity - that's what it's all about for me.  It's like stroking a cat softly around the ears, or feathering your car's throttle ever so lightly, or kissing your love with great passion & gentle tenderness. Do the same thing for your guitar.  (I know how odd this sounds - LOL.)
 ''Here's what I had posted about vocals...''
 ''...one of the things I did was turn up the master to 2 o'clock & then whisper into the mic. I believe in playing with intensity at 40% instead of the 80% that most guys like to play at. That can make a HUGE difference in tone.''
+'''Another thought - 3/13/2007, Finding the Sweet Spot'''
+Another way to express these thoughts is "finding the sweet spot".  That is a phrase that applies to an awful lot of life.  The best tone is in that sweet spot guitar-wise, vocally, in any instrument & performance.  Find that sweet spot of tone that really gets you off & work with it.  There are sweet spots in many ranges & volumes on every instrument.  There are also sweet spots with mics & even the L1.  Find those magical ranges & work in them to find every nuance & expressive conduit available.
+----
+Related: [[Vocal and Guitar Performance Techniques]] Video by Tom Munch
+<references/>
+[[Category:Editorial]]
+[[Category:Acoustic Guitar]]
+[[Category:Guitar]]