User Guide

Guidance on how to maintain and use the Carolan guitar, from changing the pick-up battery, to advice and tips shared by players, to a quick lesson on how to play.

Adjusting the pickup volume and changing the battery

Gently remove the topside sound hole (there’s a little indentation for your finger that you can see at the right end of the oval shape below).

Soundhole In Situ

Soundhole In Situ

Put it down somewhere safe where you (or anyone else for that matter) isn’t about the sit on it. Be impressed by the four cute little magnets underneath that hold it in place.

Upside-down Showing Magnets

Upside-down Showing Magnets

You will find the volume control just under the lip of the hole towards the bottom end of the guitar. It’s a small back wheel so just turn it to adjust the volume. It’s velcroed on so you can easily move and replace it.

Looking into the top sound hole. Volume control and battery just under to top on the right.

Looking into the top sound hole. Volume control and battery just under to top on the right.

The battery is located in a small pouch directly behind the volume control. It’s a standard rectangular 9v calculator-style battery.

Looking into the soundhole at the volume control and battery pouch beyond

Looking into the soundhole at the volume control and battery pouch beyond

Watch out for the 10th fret

The fret markers that you’ll see on the topside of the neck when you are playing include a ‘dot’ at the 10th fret rather than at the 9th which is common on most guitars. Marking the 10th fret is standard for Gypsy Jazz guitars (reflecting the heritage and interest of its luthier Nick Perez) but can be confusing for those used to more regular guitars. If you are easily confused, then you might like to follow Steve’s strategy when gigging Carolan at OxJam which was to use a piece of black plastic tape to temporarily cover up the 10th fret marker and then add in a piece of white tape to create a new 9th fret marker as shown below. However, please use tape that will remove easily without leaving a mark (we’ll try to remember to leave some in the case). Of course the more professional among us may not need to stoop to such low tricks.

Using white sticky paper and black tape to temporarily  "correct' the 10th fret marker

Using white sticky paper and black tape to temporarily “correct’ the 10th fret marker

Strings

Well it’s a matter of personal taste isn’t it. Here’s some ‘serving suggestions’ from Carolan’s players.

  • Steve prefers D’Addario EJ26 Phosphor Bronze 11-52 gauge and so you’ll often find Carolan fitted with a set of these.
  • Gypsy Jazz guitarist Remi Harris told us that he likes to use  a set of 12s with a plain rather than wound 3rd (G) string.

Inside the guitar case

You should find the following inside Carolan’s case. First, in the box section under the neck …

Inside the case part I

Inside the case part I

  • Branded plectrum (0.65 gauge) with scannable aestheticode pattern
  • Spare plectrums
  • String winder
  • Pait of pliers/wire snippers
  • Shubb capo
  • Nail lacquer/strengthener
  • White sticky paper and back tape (see 10th fret discussion above)
  • Cool badge (you can scan this too

In the rest of the case you should find spate strings and a selection of memorabilia (feel free to add some).

Other stuff you may find in the case

Other stuff you may find in the case

 

Inside the travel case

Carolan also often travels with a small personal case.

The accessories case

The accessories case

 

This typically contains other accessories for demonstrating the guitar and recordings sessions:

  • Apple iPad air
  • Sony video camera with stereo pair mic
  • Camera tripod
  • guitar stand
  • Even more strings
Inside the accessories case

Inside the accessories case

Recording the Carolan guitar

Some notes on how we set about recording Carolan in a home studio. You can hear the results on blogpost 38.

Notes on recording

Still reading? Well don’t say we didn’t warn you. So here’s how we set about capturing the sound of Carolan using a low-budget home set up.

Given that there are only two half-decent budget mics available in the man cave, and that these are quite different in character, the best option seemed to be the classic approach of a widely separated pair to try and capture a broad stereo field. An AKG C1000S was positioned pointed directly at the 14th fret (left of the figure below) while a Rode NT1 was positioned somewhat further back and pointed generally in the direction of the lower bout (right of the figure). These were then passed through an AKAI EIE analogue to digital converter and from there into Logic Pro running on a Mac. Finally, our Sony video camera was positioned between the two mics to capture the visuals. Anyone still awake out there?

All that remained was for a very large number of takes of each track. Best to draw a veil over how many other than to say that Steve is definitely not a ‘one take wonder’.

Notes on mixing

Adrian had volunteered to take on the task of mixing so Steve emailed over the raw recordings using the Open Media Format. The mixing was then done in Steinberg Cubase 5. The is the main layout screen showing all four recordings across the two microphones. AKG on top, the Rode below…


The Mixer window below shows the input level of the raw recordings on the far left. The middle two channels represent the two microphones. The AKG microphone is panned 62% to the left and the Rode 62% to the right. The fourth channel strip on the right shows the return level of an effects send channel for a reverb …

The following shows the channel strip for the AKG microphone. A range of processing has been undertaken (left hand side shows inserts from processing effects) …

AKG Microphone processing: shows the channel strip for the AKG microphone. A range of processing has been undertaken (left hand side shows inserts from processing effects).

The first stage of EQ was surgical, meaning that any prominent resonances or frequencies captured on the recording that come from a combination of the guitar, recording room and microphone were reduced. A very focused bell curve was used to highlight a particular frequency …

The first stage of EQ

The second stage of EQ concerned the more general shaping of the sound. This AKG recording pointing towards the guitar’s neck was rich and full. It did not require any boosting of the low end. The mid-range was reduced to remove some of the guitars inherent mid-range richness and the high-end boosted to brighten the sound …

The second stage of EQ

In the next stage of EQ a DeEsser is typically used on vocals to reduce sibilance sounds, but here it was employed to reduce some of the string ‘squeak’ that results from the hands sliding across them…

Applying a DeEsser

Finally a compressor was placed in the chain featuring:

  1. Slow attack
  2. 1:7.2 ratio
  3. Fast release time

Minimal compression was applied here, the intention was to just capture and pull down the level of the high peaks. So the majority passes through un-compressed.

Compressor

A ‘hall’ reverb was set up on an effects send. This was to add some larger reverberation than that captured from the small room Carolan was recorded in. A reverb time of just over 1.5 seconds with a 20msec pre-delay were the basic settings used. The same reverb was added across both microphones.

Reverb

A further  EQ was then applied to the reverb send effect. The purpose of this was to reduce the amount of reverb around the lower frequencies. If this is not done, the reverb can emphasis them these frequencies and the boominess created can muddy the low end of the mix. You can see that the EQ basically pulled out the low and lower-mid frequnces. There was also a high-shelf which is just reducing the very high-end reverb ‘sizzle’. In a sense the aim here was to apply a rich amount of reverb to the recording, but to reduce the prominent frequecies that will make the reverb stand out.

More EQ

The same set of processing was applied to the Rode microphone, but adjusted to suit the sound captured. A little more surgical EQ’ing was required on this microphone, as its placement captured more the natural qualities of the room, which gave it a ‘boxier’ sound.

 

 

 

 

 

 

 

This microphone recording was richer in middle and high frequencies compared to the AKG. Thus, it did not need so much high end adjustment, but the mid and low-range frequencies necessitated more shaping, to add depth and reduce boxiness.

 

 

 

 

 

 

 

The track was then exported from Cubase with the above processing applied.

 Notes on mastering

The exported stereo mix from Cubase was then mastered in Steinberg Wavelab.

fig14

 

 

 

 

 

 

 

 

 

 

 

Two stages of processing were done here. First, a multi-band compressor was used for a final shaping of the stereo mix. A multi-band compressor (4 bands in this case) can be set up to compress particular bands of frequencies. So, it acts like a compressor and as well as an EQ. For instance, if you compress a band of low-end frequencies, then these are then reduced in dynamic level, so change of the global EQ of the sound. Here, a little slight boosting of the very low and high frequencies was applied, alongside a reduction of the lower-mid / higher low-end frequencies . This process seemed to smooth out the recording, making it less immediate and more balanced.

The final stage of the processing was the application of a limiter to both boost the overall level of the recording and limit any remaining peaks to stop the recording from ‘clipping’ (where the level pushes above 0db and distorts)

 

 

 

 

 

 

 

 

 

 

This processing was then rendered and exported as a wav file 44.1hz and 16 bit resolution.

As a final note, the limiter used here also addresses the ‘dither’. The original recordings were captured at 24 bit resolution and processed as this along the mixing and mastering chain. Traditionally, audio files are exported for consumption at 16 bit (CD ready). Dither is a process that adds low level noise to the sound file, to mask, or cover up quantisation errors that result from converting higher resoultion recordings (24 bit) to lower level exports (16 bit).

So there you are that’s how Steve and Adrian captured the sound of Carolan at home. In a future post we’re going to venture into a more professional performance space and try some recording time there.

How to maintain the Carolan Guitar

Dust it gently. Keep it out of bright sunlight, excess humidity etc. Store safely in its case or on a stand. Play it. Love it. Don’t play loud thrashy music on it with a heavy plectrum. Don’t hand it over to thrash-style guitarists who have a glint in their eye. For anything else other than the above ask a qualified luthier.

How to play the Carolan Guitar (and many other guitars too)

Press down the strings with one hand and pick them with the other. Move both hands around until it sounds good. Er … that’s it.

Further information – technical spec

For further information, please read the detailed technical specification of the Carolan guitar here.

 

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