Reducing slide noise on resonator

90% technique of playing I am afraid to say. Try micing it further from the cone and more by the first vent hole or 4" to the left (player perspective of right handed player) of the pick hand.

R

That's pretty much exactly where the mic was....

I will definitely try harder and get one of those bars you mentioned.

Thanks so much ...


Cheers


Wiz

RGO - one stop slide-question forum

That brings up a point of producing/engineering that I would like to mention. Most engineers don't even know what a good sounding reso sounds like. Especially now, where there is so little of it being recorded as a whole. Sadly in a pop country mix, they high pass it so high to fit all of the other instruments into the song that it doesn't even sound like me anymore when I hear the final product. They just want the trash can reso cone sound and not the real depth of the instrument. Jeff's Heider pre vid that we did is a good example of how rich the instrument I play is supposed to sound. Anything less than what the instrument is supposed to sound like is an engineering fail to me.

R

Randge I totally feel you on that one. That vid you did was absolutely killer and you've really got playing reso dialed in man, loved the sound you had going in that video. 

I agree with you as well, I have to admit unless it's a feature in the song I tend to spot the mic near it and be OK with it. Now, if I'm doing a song that is using it as a crutch I'll get much more picky. Usually two mics, I'll use this one AKG mic that I carry everywhere with me, it's a cheapo SDC, but it has some laser focus and really picks up transients extremely well, I mean, I've tried KM84's and MK012's, all sorts of others and I just love the sound of that one for that one specific purpose. Then I'll use an LDC to pick up the whole reso, I like U87's or C414's for that. Usually have the player move the LDC up or down until the phase feels right and that's a damn good sound. But, like I said, that's really only if I'm going to have it featured, otherwise just getting the overall sound with a U87 pretty much anywhere does the trick, the way that instrument sounds it cuts in a mix no matter what. My favorite sound was from the Paper Airplanes record, that's what I shoot for when I get picky, honestly that whole record is one that every engineer should carry with them when they are getting set up for anything acoustic, best damn engineering I've ever heard, just rich, only way I can describe it. I think a lot of engineers filter the hell out of it because they are thinking of it like an acoustic guitar, although, the reso has some really beautiful tones below 300, but a lot of times in these new records you have to cut everything to make room for the bass and kick, just the times we are in. That's why that Paper Airplane record won grammys and probably why I love it so much, it's a breath of fresh air. 

I'm looking forward to getting to come up and witness your greatness in person man! Like I said, you guys hold special places in my heart of respect, not many people can do what you guys do, and not many understand how much of getting that sound is really dependent on the player. 

Wiz, I think you need to dig into the guitar a little more to pull the tone out of it. Many pedal steel players have the same thing going on. Their touch is actually too soft and doesn't make the instrument speak with enough natural volume. When that happens, the other bar noises and whatnot stick out more and show their ugly head. I love the content and note choice, just gotta dig in a little more. Your reso might be a candidate for a new Scheerhorn cone also. They are way more open and clear than stock ones. They also last about 3 times longer.

R

I think it's sonwonderful a player of your ability took the time to listen and offer advice ... I really appreciate that.  I will take it all to heart.

It's a cheap regal resonator and the action is just the same as an acoustic guitar..it's not raised up...as sometimes I play it as you play a normal guitar.... 

Thanks again

cheers Wiz

You should have tagged me with this post.  I'm sure I disappointed you by doing just that (HPF) on Jolene.  

But in a busy mix, what choice do we have?  Serious question.

My choice would be to not use it, Cowboy. I wouldn't have used the Reso and steel together personally. It's the highlander approach. There can be only one.

R

Hey Cowboy... 

thanks for the purchase.. 8)

I would love to do something on vinyl....

I think financially it would be a disaster, not that the CD is going to fare better LOL... but you know what, I might look into it. Would be kinda cool.. I wonder if you can do small runs..cheapishly....

only live once right?


cheers

Wiz

Totally different sounds and both are cool. I am more of a tricone fan myself, as the single (biscuit) style usually don't have the sound I am going for. For single cone, I like the #14 spider style cones, so my vote is towards the tricones. They sound nothing like the single cone maple guitars that I have and that gives me different voices on sessions. I have hybrid guitars as well. This vid is an example of wood and metal hybrids. This guitar is huge sounding but the cell phone capture on the vid really doesn't show how great that this guitar is.



R

Hey Randge

I have. 

I owned a few ribbons, and sold em all off 8). I just never got on with them.

Last night I had a bit of a play around, and actually got a really nice, low scratch sound with MD421 pretty much in the position you described, perhaps a little further away, into a 1073.  I like it.. will listen again with fresh ears this morning, but it was pretty cool last night, but we all know how that goes 8)

honestly...

90% of this will be me...

There is a guy who is a vintage and high end guitar seller locally, unbelievably for where I live, I will talk to him next time, and rent a great one of him for a day when he has one and give it a try.

If what I tracked last night does indeed sound cool I will post a snippet up.

cheers

Wiz