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Posts posted by strolls

  1. Try a AKG 3000b. Large diagphram mike. I regularly use one of these to record a singer with a strong bass voice, with stunning results. Make sure you have a good pop-screen.





    I'm now using the AKG C1000S, with good results so far, having tried quite a few over the years. My problem was not the concertina but my voice.


    For a single mike set-up for voice and concertina I tend to play standing in front of a boom mike-stand with the mike pointing somewhat upwards and holding the concertina low.


    I think that there are a lot of cheaper microphones out there that just can't handle my bass voice. I don't know why but suspect it is something to do with odd harmonics at low pitch coupled with the high pitch concertina harmonics.


    Robin Madge

  2. I had a similar problem recently recording an accordion.


    I was a recording a band with some loud and persistent instruments, so trying to avoid spillage I close miked the instruments using end-fire mics. This was using Rode NT3 - mid-price similar to AKG C1000s mentioned above. I prefer these mics to the AKG, they give a good sound, more signal and less noise.


    Everything sounded OK except the accordion, which sounded particularly rough on the right hand - the reeds really came over with a rasping quality, quite unlike the real thing.


    We tried a few things, but ended up backing the mic off by a metre, and repositioning the accordionist to reduce spillage from the other instruments. Once we had done this the accordion was sounding sweet again.


    When recording solo concertina the spillage problem from other instruments does not exist. I usually use a pair of AKG 3000b microphones - large diaghram, mid price mics. Again backing off a bit, and placed on either side, slightly behind the player. This position gives two benefits - better separation (less cross-over in the stereo image), and less key noise (if the concertina has any rattly keys).

    I learnt this technique from a professional sound recordist who was very experienced in recording accordions. Tried it out on the concertina and was pleased with the results.




    Thanks for the tips - moving the mic further away helped with the upper range but the lower notes are still pretty rough - so I'll try a better mic - can anyone recommend a mid price mic?


  3. Inspired by Reverend Ken and recordings of Kimber, I switched over from English to Anglo for morris about 15 years ago. Playing a 20 key Lachenal C/G.


    Since then I have bought a G/D and played a number of different 20/30/40 key instruments in between.


    From my experience, to get the brightness and speed required for the Kimber style it needs to be a C/G.


    A G/D has longer reeds on the G row - they are slower to react.


    Also there is a real benefit in playing a 20 key - it is physically lighter, and thus more easy to manipulate to get that animated style (unless you relly have super biceps)


    The G/D is more useful for sessions, but for morris I would choose a C/G.


    The fact that other morris musicians may only have G/D melodeons should not deter one from playing solo for morris in C when the tune demands it. When I'm dancing I much prefer the sound of a solo concertina or pipe and tabor, or fiddle for morris, than a band.



    I've ordered my copy. This is the style I would like to be playing. For morris and sessions, would it be fair to say that the G/D is best suited to this style, particularly taking into account what instruments others may be playing? Dan, what keys are most of the tunes in?
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