http://www.amptone.com/diyisobox.htm
If you don't like the room, then take it out of the equation and build yourself one of these babies. I did and I really enjoy it.
struggling with guitar tone...
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KennyLusk
- dead but not forgotten
- Posts: 2037
- Joined: Wed Sep 22, 2004 10:22 am
- Location: Ramah, New Mexico
If it's rythm guitar parts you're having trouble with, one thing I've done when necessary is track a simple little bass line to tuck under the electric guitar's rythm parts to beef things up.
Even at very low volume the extra bassline makes a huge difference and the listener hardly ever notices it.
Even at very low volume the extra bassline makes a huge difference and the listener hardly ever notices it.
"The mushroom states its own position very clearly. It says, "I require the nervous system of a mammal. Do you have one handy?" Terrence McKenna
Again, thanks for all the replies, I've experimented a lot since posting this and have found the sweet spot between room, amp, mic and placement. As for the amptone, my closet would pretty much accomplish the same thing, and not be as dead sounding. Nice thought, though.Knight79 wrote:http://www.amptone.com/diyisobox.htm
If you don't like the room, then take it out of the equation and build yourself one of these babies. I did and I really enjoy it.
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calaverasgrandes
- ghost haunting audio students
- Posts: 3233
- Joined: Wed Jul 25, 2007 11:23 pm
- Location: Oakland
- Contact:
It was kinda implied in a few other posts but I am gonna give my spin.
I find that usually a not quite so distorted tone works best when recording. psychoacoustics does a lot for ferreting out the xtra treble and room reflections when you are "in" the room. The mics dont have the benfit of psycho acoustic filters. just plain old acoustics.
I usually like to record rhythm tracks with an old rat box set just barely on drive, pretty much all knobs at noon. Almost always a 57 or a 609 on the seam between the cone and dustcap. Though sometimes I throw a LDC set on omni about foot back from the amp. Then I compress that a bit to tighten it up with a 160 or 166 or blue max (or maybe a VST limiter).
If I am going for a big fuzzed out sound i usually grab a LDC or possibly an Oktava MC012 and stick it pretty close to the grill. Again I mostly will put it on omni if I am using a condenser to mitigate low end boost.
Thats another thing. It really helps guitar sound if you lop off the bottom. I start at 70hz and keep on castrating until It sounds anemic, then I back off. Most of my mic pres have low cut filters on them so I can chop off a good amount going in. I think a big part of bad recorded guitar tone is woofiness. Even on black metal recordings they just give the impression of low freq energy. There is really no low freq at all in the guitars!
you also didnt mention what kind of mic pres you are utilising.
this can make a big difference. I know I started getting much better tracks when I got the hell away from Mackie mixers! I am a big fan of Yamaha PM series mixers from the 70's. I also have a couple Summits too.
I find that usually a not quite so distorted tone works best when recording. psychoacoustics does a lot for ferreting out the xtra treble and room reflections when you are "in" the room. The mics dont have the benfit of psycho acoustic filters. just plain old acoustics.
I usually like to record rhythm tracks with an old rat box set just barely on drive, pretty much all knobs at noon. Almost always a 57 or a 609 on the seam between the cone and dustcap. Though sometimes I throw a LDC set on omni about foot back from the amp. Then I compress that a bit to tighten it up with a 160 or 166 or blue max (or maybe a VST limiter).
If I am going for a big fuzzed out sound i usually grab a LDC or possibly an Oktava MC012 and stick it pretty close to the grill. Again I mostly will put it on omni if I am using a condenser to mitigate low end boost.
Thats another thing. It really helps guitar sound if you lop off the bottom. I start at 70hz and keep on castrating until It sounds anemic, then I back off. Most of my mic pres have low cut filters on them so I can chop off a good amount going in. I think a big part of bad recorded guitar tone is woofiness. Even on black metal recordings they just give the impression of low freq energy. There is really no low freq at all in the guitars!
you also didnt mention what kind of mic pres you are utilising.
this can make a big difference. I know I started getting much better tracks when I got the hell away from Mackie mixers! I am a big fan of Yamaha PM series mixers from the 70's. I also have a couple Summits too.
??????? wrote: "everything sounds best right before it blows up."
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