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Recording electric guitar video
Being relatively new to recording electric guitar I found this video interesting. and would love to here thoughts and or other techniques or equipment from those who have experience .
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Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Ventura 12.2.1 |
#2
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That was a nice video! Here are a couple of techniques and considerations I've used that have worked out well:
He never went out as far as I tend to on the cone. He kept referring to "off-axis." Perhaps a better way of thinking is "location on the cone." The center is absolutely the nastiest location on an un-slit* stock speaker. All you have to do is slide the mic outwards to start feeling some moderation of the overtones. In fact, 1/3 of the way in between the compliance (outer edge) and center dust cap can often be a great starting point. It is quite mellow and full but there is still high end. I've had great results from a combination of a dynamic mic and a ribbon in a near-coincident pair. As he said, remember that the ribbon will pick up from the rear and consider mic and amp placement with the reflections in mind. The near-coincident pair minimizes out of phase content. The pic below is of a near-coincident dynamic/ribbon pair (SM57/Royer 121) pointed 1/3 in from the edge of the speaker. He spoke of highs like a laser beam. That is something you can use when you are working at a distance and the amp is on a hard surface. If you think of the high frequencies the same way you would the ball in a billiards game and think of the floor like the bumper, you can angle the mic to accept or reject the floor bounce of the high frequencies, based upon need. Bob * If you are dealing with a slit speaker cone, you'll fine all sorts of harsh, fizzy overtones pretty much everywhere. That's the point of slitting the darned thing!
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"It is said, 'Go not to the elves for counsel for they will say both no and yes.' " Frodo Baggins to Gildor Inglorion, The Fellowship of the Ring THE MUSICIAN'S ROOM (my website) |
#3
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interesting kev.
i stay off the center too. sometimes i'll just use a 57 solo; other times i'll use a combo such as my cascade fathead ribbon with the 57 or, my GT66 tube condenser with the 57. i'll also move anything and everything around until it sounds good in the cans. play music!
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2014 Martin 00015M 2009 Martin 0015M 2008 Martin HD28 2007 Martin 000-18GE 2006 Taylor 712 2006 Fender Parlor GDP100 1978 Fender F65 1968 Gibson B25-12N Various Electrics |
#4
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My amp has two fairly different-sounding speakers in it, and I've had good results using two mics (condensers, same ones I use with acoustic guitar) recording into two separate tracks. I have to keep the mics pretty close to avoid phasing effects (where each mic picks up a bit of the other speaker, which is slightly out of phase depending on mic placement), but I can blend them afterwards into a stereo mixdown. Yes, where exactly you put the mic matters, and dead center gets pretty raunchy, which might be exactly what you want but either way, that's what you'll get at least if you're running a lot of overdrive.
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'17 Tonedevil S-18 harp guitar '16 Tonedevil S-12 harp guitar '79 Fender Stratocaster hardtail with righteous new Warmoth neck '82 Fender Musicmaster bass '15 Breedlove Premier OF mandolin Marshall JVM210c amp plus a bunch of stompboxes and misc. gear |
#5
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I record electric guitars often and I find each amp has it's own sweet spot which often depends on the volume I'm recording at. Lately I've been using very low powered amplifiers as I want the output tubes of the amp giving up their signature sound. My favorite recording amps are all under 20 watts, except for my Victoria Regal II although I usually pull one of the power tubes out while recording to drop the volume a bit (it's parallel single ended so it's designed to do that.) Other amps I like are a '62 Ampeg Mercury, '69 Fender Vibro Champ, Dirty Girl Reverb (modern amp although vintage Supro based design with a great sounding trem and reverb), Vox AC15HW1, and a TopHat Club Deluxe. And for slightler louder clean tones I use my '64 Fender Deluxe Reverb. For the non reverb amps many times I use a handbuilt Fender 6G15 reverb unit. I very rarely record with any pedals in the chain, but occasionally if I need a little drive at slightly lower volume I will add a Fulldrive 3 or a Mythical Overdrive.
I have few favorite amp microphones with the CLOUD JRS34 http://cloudmicrophones.com/jrs-34/ currently my favorite for natural tones. And I usually have either a Neumann U87ai or U89, as a room mic, at varying distances from the cab. I also like the Sennheiser MD421 in place of the typical SM57 for close to the cone stuff. Some examples of the tone I like, all examples are the Victoria Regal II except the GIbson P90 tone which was the '69 Vibro Champ.... Fender single coil... Filtertron Gretsch tone... Gibson P90 tone... Gibson Firebird tone... Thicker Gibson Humbucking tone... |
#6
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Hey great info people thanks so much.
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Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Ventura 12.2.1 |
#7
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Hi Kev,
Check this out. This plugin is pretty **** real sounding and a whole lot better than anything else I've heard. https://www.scuffhamamps.com/product/s-gear |
#8
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Quote:
__________________
Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Ventura 12.2.1 |