Ok, I have made many posts lately about preamps, mics, etc. Here is what I
am trying to do:

I am working on an instrumental guitar CD. I guess the style it is most
similar to is Vai, Satriani, etc, but that is just because of a lack of a
better analogy. Basically, my lead tone is high gain like theirs. Rhythm
ranges from sparkling clean to high gain.

Now my point - I can't afford to go in a studio so I have spent some money
on gear I think I can use to make near pro sounding recorded guitar. Most of
my budget went into the guitar gear with no compromises, so I am settling
with the other stuff.

The guitar gear is:

- Carvin dc127 guitar
- ibanez rg2820 prestige guitar
-diezel VH4S tube amp head
-koch powertone II tube amp head
-genz benz 2x12 cab (soon to replace speakers with vintage 30s)

Recording gear is
- mackie 1402vlz
-delta1010
-shure sm57, beta57a (soon to add md421 and sp c1)
-fmr rnp (soon to have)
-event 20/20bas monitors
-beyer dt770 headphones

The thing is, I have done nothing in terms of room design. Will that hurt
the recordings, or is that mainly a control room issue (I am having my stuff
mixed by a pro when it is recorded)? Also, on rhythm guitar I understand
multiple mikes are often used. What approach should I take for lead parts? I
am experimenting with overdubbing but it sounds pretty bad. While that seems
ok for rhythm, it sounds phasey with lead unless each part is played nearly
identical both times. Also, seems most people use 4x12 cabs for recording.
Am I truly limiting myself by using a 2x12?

thanks in advance,

brian
www.guitar-dreams.com

me@me wrote:

Ok, I have made many posts lately about preamps, mics, etc. Here is what I
am trying to do:

I am working on an instrumental guitar CD. I guess the style it is most
similar to is Vai, Satriani, etc, but that is just because of a lack of a
better analogy. Basically, my lead tone is high gain like theirs. Rhythm
ranges from sparkling clean to high gain.

Now my point - I can't afford to go in a studio so I have spent some money
on gear I think I can use to make near pro sounding recorded guitar. Most of
my budget went into the guitar gear with no compromises, so I am settling
with the other stuff.

The guitar gear is:

- Carvin dc127 guitar
- ibanez rg2820 prestige guitar
-diezel VH4S tube amp head
-koch powertone II tube amp head
-genz benz 2x12 cab (soon to replace speakers with vintage 30s)

Recording gear is
- mackie 1402vlz
-delta1010
-shure sm57, beta57a (soon to add md421 and sp c1)
-fmr rnp (soon to have)
-event 20/20bas monitors
-beyer dt770 headphones

The thing is, I have done nothing in terms of room design. Will that hurt
the recordings, or is that mainly a control room issue (I am having my stuff
mixed by a pro when it is recorded)? Also, on rhythm guitar I understand
multiple mikes are often used. What approach should I take for lead parts? I
am experimenting with overdubbing but it sounds pretty bad. While that seems
ok for rhythm, it sounds phasey with lead unless each part is played nearly
identical both times.

That part comes with experience probably. seems like you have the gear to pull
it off.

Also, seems most people use 4x12 cabs for recording.
Am I truly limiting myself by using a 2x12?

I don't think so at all. A large sound can be had from1 12" IMo. keep trying.



thanks in advance,

brian
www.guitar-dreams.com

I am working on an instrumental guitar CD. I guess the style it is most
similar to is Vai, Satriani, etc...
-------------------

Check out the Magic Elf website:

http://www.magicelf.com (instrumental rock guitar music)

Shoot your question directly to:

In article m writes:

Now my point - I can't afford to go in a studio so I have spent some money
on gear I think I can use to make near pro sounding recorded guitar.

Only if you have ALL the gear you need and you're a pro. Otherwise
you'll just be making recordings and you'll be asking questions about
what's wrong for the next two or three years.

Most of
my budget went into the guitar gear with no compromises

That's a good first step. You won't be able to record what isn't
there, so it's important to get the sound you want right out of the
speaker.

so I am settling with the other stuff.

That's a bad second step.

The guitar gear is:

Whatever floats your boat. Does it sound like you want it to sound on
your CD? If so, good. If not, you're not going to fix it with
recording.

Recording gear is
- mackie 1402vlz
-delta1010
-shure sm57, beta57a (soon to add md421 and sp c1)
-fmr rnp (soon to have)
-event 20/20bas monitors
-beyer dt770 headphones

That should do it.

The thing is, I have done nothing in terms of room design. Will that hurt
the recordings, or is that mainly a control room issue (I am having my stuff
mixed by a pro when it is recorded)?

You're darn tootin' it will (or at least has potential to) hurt your
recording. You aren't recording the guitar, you're recording the sound
of the guitar in the room as heard by the microphone. You can
experiment with mic position and the position of the amplifier in the
room, but unless you have decent monitoring, you won't know whether
what you're hearing is really what you're recording and you could be
surprised when you go to the "pro" to mix. Your monitors aren't great,
but they're OK WHEN USED IN A GOOD ACOUSTICAL ENVIRONMENT!!!!! When
used in a poor or unknown environment, they aren't the same monitors
that Event designed and they won't sound like they're supposed to
sound.

Work on your monitoring environment first. When that's as accurate as
you can make it (spend more money on this and delay the purchase of
the RNP and maybe a mic if you have to) then start listening to what
you're recording. If you don't get it right, it won't mix right. And
you won't know you have it right until your monitoring is accurate.
Headphones are good, but don't trust them completely.

Also, on rhythm guitar I understand
multiple mikes are often used. What approach should I take for lead parts?

You just have to experiment and see what gives you the sound you're
after. It will vary from song to song, unless they all sound the same
(in which case, why record more than the one that's best?).



--
I'm really Mike Rivers - )

In article m writes:

Now my point - I can't afford to go in a studio so I have spent some money
on gear I think I can use to make near pro sounding recorded guitar.

Only if you have ALL the gear you need and you're a pro. Otherwise
you'll just be making recordings and you'll be asking questions about
what's wrong for the next two or three years.

Most of
my budget went into the guitar gear with no compromises

That's a good first step. You won't be able to record what isn't
there, so it's important to get the sound you want right out of the
speaker.

so I am settling with the other stuff.

That's a bad second step.

The guitar gear is:

Whatever floats your boat. Does it sound like you want it to sound on
your CD? If so, good. If not, you're not going to fix it with
recording.

Recording gear is
- mackie 1402vlz
-delta1010
-shure sm57, beta57a (soon to add md421 and sp c1)
-fmr rnp (soon to have)
-event 20/20bas monitors
-beyer dt770 headphones

That should do it.

The thing is, I have done nothing in terms of room design. Will that hurt
the recordings, or is that mainly a control room issue (I am having my stuff
mixed by a pro when it is recorded)?

You're darn tootin' it will (or at least has potential to) hurt your
recording. You aren't recording the guitar, you're recording the sound
of the guitar in the room as heard by the microphone. You can
experiment with mic position and the position of the amplifier in the
room, but unless you have decent monitoring, you won't know whether
what you're hearing is really what you're recording and you could be
surprised when you go to the "pro" to mix. Your monitors aren't great,
but they're OK WHEN USED IN A GOOD ACOUSTICAL ENVIRONMENT!!!!! When
used in a poor or unknown environment, they aren't the same monitors
that Event designed and they won't sound like they're supposed to
sound.

Work on your monitoring environment first. When that's as accurate as
you can make it (spend more money on this and delay the purchase of
the RNP and maybe a mic if you have to) then start listening to what
you're recording. If you don't get it right, it won't mix right. And
you won't know you have it right until your monitoring is accurate.
Headphones are good, but don't trust them completely.

Also, on rhythm guitar I understand
multiple mikes are often used. What approach should I take for lead parts?

You just have to experiment and see what gives you the sound you're
after. It will vary from song to song, unless they all sound the same
(in which case, why record more than the one that's best?).



--
I'm really Mike Rivers - )

Man, I was hoping this room issue could be avoided. I wouldn't know where to
begin to determine how accurate my monitoring is.

thanks for all the tips,

brian

"Mike Rivers" wrote in message
news:znr1067269137k@trad...

In article m
writes:

Now my point - I can't afford to go in a studio so I have spent some
money
on gear I think I can use to make near pro sounding recorded guitar.

Only if you have ALL the gear you need and you're a pro. Otherwise
you'll just be making recordings and you'll be asking questions about
what's wrong for the next two or three years.

Most of
my budget went into the guitar gear with no compromises

That's a good first step. You won't be able to record what isn't
there, so it's important to get the sound you want right out of the
speaker.

so I am settling with the other stuff.

That's a bad second step.

The guitar gear is:

Whatever floats your boat. Does it sound like you want it to sound on
your CD? If so, good. If not, you're not going to fix it with
recording.

Recording gear is
- mackie 1402vlz
-delta1010
-shure sm57, beta57a (soon to add md421 and sp c1)
-fmr rnp (soon to have)
-event 20/20bas monitors
-beyer dt770 headphones

That should do it.

The thing is, I have done nothing in terms of room design. Will that
hurt
the recordings, or is that mainly a control room issue (I am having my
stuff
mixed by a pro when it is recorded)?

You're darn tootin' it will (or at least has potential to) hurt your
recording. You aren't recording the guitar, you're recording the sound
of the guitar in the room as heard by the microphone. You can
experiment with mic position and the position of the amplifier in the
room, but unless you have decent monitoring, you won't know whether
what you're hearing is really what you're recording and you could be
surprised when you go to the "pro" to mix. Your monitors aren't great,
but they're OK WHEN USED IN A GOOD ACOUSTICAL ENVIRONMENT!!!!! When
used in a poor or unknown environment, they aren't the same monitors
that Event designed and they won't sound like they're supposed to
sound.

Work on your monitoring environment first. When that's as accurate as
you can make it (spend more money on this and delay the purchase of
the RNP and maybe a mic if you have to) then start listening to what
you're recording. If you don't get it right, it won't mix right. And
you won't know you have it right until your monitoring is accurate.
Headphones are good, but don't trust them completely.

Also, on rhythm guitar I understand
multiple mikes are often used. What approach should I take for lead
parts?

You just have to experiment and see what gives you the sound you're
after. It will vary from song to song, unless they all sound the same
(in which case, why record more than the one that's best?).



--
I'm really Mike Rivers - )

Man, I was hoping this room issue could be avoided. I wouldn't know where to
begin to determine how accurate my monitoring is.

thanks for all the tips,

brian

"Mike Rivers" wrote in message
news:znr1067269137k@trad...

In article m
writes:

Now my point - I can't afford to go in a studio so I have spent some
money
on gear I think I can use to make near pro sounding recorded guitar.

Only if you have ALL the gear you need and you're a pro. Otherwise
you'll just be making recordings and you'll be asking questions about
what's wrong for the next two or three years.

Most of
my budget went into the guitar gear with no compromises

That's a good first step. You won't be able to record what isn't
there, so it's important to get the sound you want right out of the
speaker.

so I am settling with the other stuff.

That's a bad second step.

The guitar gear is:

Whatever floats your boat. Does it sound like you want it to sound on
your CD? If so, good. If not, you're not going to fix it with
recording.

Recording gear is
- mackie 1402vlz
-delta1010
-shure sm57, beta57a (soon to add md421 and sp c1)
-fmr rnp (soon to have)
-event 20/20bas monitors
-beyer dt770 headphones

That should do it.

The thing is, I have done nothing in terms of room design. Will that
hurt
the recordings, or is that mainly a control room issue (I am having my
stuff
mixed by a pro when it is recorded)?

You're darn tootin' it will (or at least has potential to) hurt your
recording. You aren't recording the guitar, you're recording the sound
of the guitar in the room as heard by the microphone. You can
experiment with mic position and the position of the amplifier in the
room, but unless you have decent monitoring, you won't know whether
what you're hearing is really what you're recording and you could be
surprised when you go to the "pro" to mix. Your monitors aren't great,
but they're OK WHEN USED IN A GOOD ACOUSTICAL ENVIRONMENT!!!!! When
used in a poor or unknown environment, they aren't the same monitors
that Event designed and they won't sound like they're supposed to
sound.

Work on your monitoring environment first. When that's as accurate as
you can make it (spend more money on this and delay the purchase of
the RNP and maybe a mic if you have to) then start listening to what
you're recording. If you don't get it right, it won't mix right. And
you won't know you have it right until your monitoring is accurate.
Headphones are good, but don't trust them completely.

Also, on rhythm guitar I understand
multiple mikes are often used. What approach should I take for lead
parts?

You just have to experiment and see what gives you the sound you're
after. It will vary from song to song, unless they all sound the same
(in which case, why record more than the one that's best?).



--
I'm really Mike Rivers - )

I
am experimenting with overdubbing but it sounds pretty bad. While that seems
ok for rhythm, it sounds phasey with lead unless each part is played nearly
identical both times.

You can help the phase problem by panning the individual parts,
however the discrepancies between the parts will be more easily heard.
If that sound (think Black Sabbath, Lynard Skynard, Randy Rhodes)
doesn't work for you use effect-based method of doubling.

I
am experimenting with overdubbing but it sounds pretty bad. While that seems
ok for rhythm, it sounds phasey with lead unless each part is played nearly
identical both times.

You can help the phase problem by panning the individual parts,
however the discrepancies between the parts will be more easily heard.
If that sound (think Black Sabbath, Lynard Skynard, Randy Rhodes)
doesn't work for you use effect-based method of doubling.

"me" wrote in message
s.com...
Ok, I have made many posts lately about preamps, mics, etc. Here is what I
am trying to do:

I am working on an instrumental guitar CD. I guess the style it is most
similar to is Vai, Satriani, etc, but that is just because of a lack of a
better analogy. Basically, my lead tone is high gain like theirs. Rhythm
ranges from sparkling clean to high gain.

Now my point - I can't afford to go in a studio so I have spent some money
on gear I think I can use to make near pro sounding recorded guitar. Most
of
my budget went into the guitar gear with no compromises, so I am settling
with the other stuff.

The guitar gear is:

- Carvin dc127 guitar
- ibanez rg2820 prestige guitar
-diezel VH4S tube amp head
-koch powertone II tube amp head
-genz benz 2x12 cab (soon to replace speakers with vintage 30s)

Recording gear is
- mackie 1402vlz
-delta1010
-shure sm57, beta57a (soon to add md421 and sp c1)
-fmr rnp (soon to have)
-event 20/20bas monitors
-beyer dt770 headphones

The thing is, I have done nothing in terms of room design. Will that hurt
the recordings, or is that mainly a control room issue (I am having my
stuff
mixed by a pro when it is recorded)? Also, on rhythm guitar I understand
multiple mikes are often used. What approach should I take for lead parts?
I
am experimenting with overdubbing but it sounds pretty bad. While that
seems
ok for rhythm, it sounds phasey with lead unless each part is played
nearly
identical both times. Also, seems most people use 4x12 cabs for recording.
Am I truly limiting myself by using a 2x12?

thanks in advance,

brian
www.guitar-dreams.com



Screw the room. Put the 57 up super close to one speaker, move it around a
bit and listen in headphones to find the sweet spot (where all the tone is).
Push the gain right into the red on the Mackie. In the mix, low pass all the
annoying sizzle up above 13kHz or such, high-pass all the dynamics hogging
low end woolf, brighten the 57 with some 10kHz glassyness, and screw with
500Hz or so for the tone. 2KHz is also a place to find some aggressive
tone. You really just have to experiment. All frequencies are of the 'ish'
variety. Double your rhythm tracks (record one, record another) and pan them
hard left and right. Throw a bit of reverb on the lead right up the middle.
For added separation, whatever EQ you add to the lead, remove from the
rhythm or vice-versa. ROCK ON!

"me" wrote in message
s.com...
Ok, I have made many posts lately about preamps, mics, etc. Here is what I
am trying to do:

I am working on an instrumental guitar CD. I guess the style it is most
similar to is Vai, Satriani, etc, but that is just because of a lack of a
better analogy. Basically, my lead tone is high gain like theirs. Rhythm
ranges from sparkling clean to high gain.

Now my point - I can't afford to go in a studio so I have spent some money
on gear I think I can use to make near pro sounding recorded guitar. Most
of
my budget went into the guitar gear with no compromises, so I am settling
with the other stuff.

The guitar gear is:

- Carvin dc127 guitar
- ibanez rg2820 prestige guitar
-diezel VH4S tube amp head
-koch powertone II tube amp head
-genz benz 2x12 cab (soon to replace speakers with vintage 30s)

Recording gear is
- mackie 1402vlz
-delta1010
-shure sm57, beta57a (soon to add md421 and sp c1)
-fmr rnp (soon to have)
-event 20/20bas monitors
-beyer dt770 headphones

The thing is, I have done nothing in terms of room design. Will that hurt
the recordings, or is that mainly a control room issue (I am having my
stuff
mixed by a pro when it is recorded)? Also, on rhythm guitar I understand
multiple mikes are often used. What approach should I take for lead parts?
I
am experimenting with overdubbing but it sounds pretty bad. While that
seems
ok for rhythm, it sounds phasey with lead unless each part is played
nearly
identical both times. Also, seems most people use 4x12 cabs for recording.
Am I truly limiting myself by using a 2x12?

thanks in advance,

brian
www.guitar-dreams.com



Screw the room. Put the 57 up super close to one speaker, move it around a
bit and listen in headphones to find the sweet spot (where all the tone is).
Push the gain right into the red on the Mackie. In the mix, low pass all the
annoying sizzle up above 13kHz or such, high-pass all the dynamics hogging
low end woolf, brighten the 57 with some 10kHz glassyness, and screw with
500Hz or so for the tone. 2KHz is also a place to find some aggressive
tone. You really just have to experiment. All frequencies are of the 'ish'
variety. Double your rhythm tracks (record one, record another) and pan them
hard left and right. Throw a bit of reverb on the lead right up the middle.
For added separation, whatever EQ you add to the lead, remove from the
rhythm or vice-versa. ROCK ON!

"me" wrote in message
ws.com...
Ok, I have made many posts lately about preamps, mics, etc. Here is what I
am trying to do:

I am working on an instrumental guitar CD. I guess the style it is most
similar to is Vai, Satriani, etc, but that is just because of a lack of a
better analogy. Basically, my lead tone is high gain like theirs. Rhythm
ranges from sparkling clean to high gain.

Now my point - I can't afford to go in a studio so I have spent some money
on gear I think I can use to make near pro sounding recorded guitar. Most
of
my budget went into the guitar gear with no compromises, so I am settling
with the other stuff.

The guitar gear is:

- Carvin dc127 guitar
- ibanez rg2820 prestige guitar
-diezel VH4S tube amp head
-koch powertone II tube amp head
-genz benz 2x12 cab (soon to replace speakers with vintage 30s)

Recording gear is
- mackie 1402vlz
-delta1010
-shure sm57, beta57a (soon to add md421 and sp c1)
-fmr rnp (soon to have)
-event 20/20bas monitors
-beyer dt770 headphones

The thing is, I have done nothing in terms of room design. Will that hurt
the recordings, or is that mainly a control room issue (I am having my
stuff
mixed by a pro when it is recorded)? Also, on rhythm guitar I understand
multiple mikes are often used. What approach should I take for lead parts?
I
am experimenting with overdubbing but it sounds pretty bad. While that
seems
ok for rhythm, it sounds phasey with lead unless each part is played
nearly
identical both times. Also, seems most people use 4x12 cabs for recording.
Am I truly limiting myself by using a 2x12?

thanks in advance,

brian
www.guitar-dreams.com



Screw the room. Put the 57 up super close to one speaker, move it around a
bit and listen in headphones to find the sweet spot (where all the tone is).
Push the gain right into the red on the Mackie. In the mix, low pass all the
annoying sizzle up above 13kHz or such, high-pass all the dynamics hogging
low end woolf, brighten the 57 with some 10kHz glassyness, and screw with
500Hz or so for the tone. 2KHz is also a place to find some aggressive
tone. You really just have to experiment. All frequencies are of the 'ish'
variety. Double your rhythm tracks (record one, record another) and pan them
hard left and right. Throw a bit of reverb on the lead right up the middle.
For added separation, whatever EQ you add to the lead, remove from the
rhythm or vice-versa. ROCK ON!



good advice man. really it's an amp, mic, guitar.

"me" wrote in message
ws.com...
Ok, I have made many posts lately about preamps, mics, etc. Here is what I
am trying to do:

I am working on an instrumental guitar CD. I guess the style it is most
similar to is Vai, Satriani, etc, but that is just because of a lack of a
better analogy. Basically, my lead tone is high gain like theirs. Rhythm
ranges from sparkling clean to high gain.

Now my point - I can't afford to go in a studio so I have spent some money
on gear I think I can use to make near pro sounding recorded guitar. Most
of
my budget went into the guitar gear with no compromises, so I am settling
with the other stuff.

The guitar gear is:

- Carvin dc127 guitar
- ibanez rg2820 prestige guitar
-diezel VH4S tube amp head
-koch powertone II tube amp head
-genz benz 2x12 cab (soon to replace speakers with vintage 30s)

Recording gear is
- mackie 1402vlz
-delta1010
-shure sm57, beta57a (soon to add md421 and sp c1)
-fmr rnp (soon to have)
-event 20/20bas monitors
-beyer dt770 headphones

The thing is, I have done nothing in terms of room design. Will that hurt
the recordings, or is that mainly a control room issue (I am having my
stuff
mixed by a pro when it is recorded)? Also, on rhythm guitar I understand
multiple mikes are often used. What approach should I take for lead parts?
I
am experimenting with overdubbing but it sounds pretty bad. While that
seems
ok for rhythm, it sounds phasey with lead unless each part is played
nearly
identical both times. Also, seems most people use 4x12 cabs for recording.
Am I truly limiting myself by using a 2x12?

thanks in advance,

brian
www.guitar-dreams.com



Screw the room. Put the 57 up super close to one speaker, move it around a
bit and listen in headphones to find the sweet spot (where all the tone is).
Push the gain right into the red on the Mackie. In the mix, low pass all the
annoying sizzle up above 13kHz or such, high-pass all the dynamics hogging
low end woolf, brighten the 57 with some 10kHz glassyness, and screw with
500Hz or so for the tone. 2KHz is also a place to find some aggressive
tone. You really just have to experiment. All frequencies are of the 'ish'
variety. Double your rhythm tracks (record one, record another) and pan them
hard left and right. Throw a bit of reverb on the lead right up the middle.
For added separation, whatever EQ you add to the lead, remove from the
rhythm or vice-versa. ROCK ON!



good advice man. really it's an amp, mic, guitar.

Now that is the kind of advice that has me feeling optimistic again!!

thanks guys,

brian

"Mondoslug1" wrote in message
...

"me" wrote in message
ws.com...
Ok, I have made many posts lately about preamps, mics, etc. Here is
what I
am trying to do:

I am working on an instrumental guitar CD. I guess the style it is most
similar to is Vai, Satriani, etc, but that is just because of a lack of
a
better analogy. Basically, my lead tone is high gain like theirs.
Rhythm
ranges from sparkling clean to high gain.

Now my point - I can't afford to go in a studio so I have spent some
money
on gear I think I can use to make near pro sounding recorded guitar.
Most
of
my budget went into the guitar gear with no compromises, so I am
settling
with the other stuff.

The guitar gear is:

- Carvin dc127 guitar
- ibanez rg2820 prestige guitar
-diezel VH4S tube amp head
-koch powertone II tube amp head
-genz benz 2x12 cab (soon to replace speakers with vintage 30s)

Recording gear is
- mackie 1402vlz
-delta1010
-shure sm57, beta57a (soon to add md421 and sp c1)
-fmr rnp (soon to have)
-event 20/20bas monitors
-beyer dt770 headphones

The thing is, I have done nothing in terms of room design. Will that
hurt
the recordings, or is that mainly a control room issue (I am having my
stuff
mixed by a pro when it is recorded)? Also, on rhythm guitar I
understand
multiple mikes are often used. What approach should I take for lead
parts?
I
am experimenting with overdubbing but it sounds pretty bad. While that
seems
ok for rhythm, it sounds phasey with lead unless each part is played
nearly
identical both times. Also, seems most people use 4x12 cabs for
recording.
Am I truly limiting myself by using a 2x12?

thanks in advance,

brian
www.guitar-dreams.com



Screw the room. Put the 57 up super close to one speaker, move it around
a
bit and listen in headphones to find the sweet spot (where all the tone
is).
Push the gain right into the red on the Mackie. In the mix, low pass all
the
annoying sizzle up above 13kHz or such, high-pass all the dynamics
hogging
low end woolf, brighten the 57 with some 10kHz glassyness, and screw with
500Hz or so for the tone. 2KHz is also a place to find some aggressive
tone. You really just have to experiment. All frequencies are of the
'ish'
variety. Double your rhythm tracks (record one, record another) and pan
them
hard left and right. Throw a bit of reverb on the lead right up the
middle.
For added separation, whatever EQ you add to the lead, remove from the
rhythm or vice-versa. ROCK ON!



good advice man. really it's an amp, mic, guitar.

On Mon, 27 Oct 2003 18:28:36 GMT, "me" wrote:

Man, I was hoping this room issue could be avoided. I wouldn't know where to
begin to determine how accurate my monitoring is.


A partial solution to the monitoring problem is to go with what you
got, then check your tracks and mixes on other systems - you hi-fi, a
boom box, the car, headphones, listen from the next room with the door
open, or partioally closed, somebody else's hi-fi, etc. You will then
learn how what you record sounds in the rest of the world. If you have
good ears, you will learn to compensate for the faults of your
monitoring space.



Willie K. Yee, M.D. http://www.bestweb.net/~wkyee
Developer of Problem Knowledge Couplers for Psychiatry http://www.pkc.com
Webmaster and Guitarist for the Big Blue Big Band http://www.bigbluebigband.org

Good. I had no clue about anything when I started, so spent endless hours
trying just about everything, often in total frustration. Now much of it is
second nature. You find a way that works for you in a variety of situations,
find your sound and your gear's sound, and start there. PUSH THE
LIMITS ----- all faders must reach unity!!!!!!!


"Brian Huether" wrote in message
...
Now that is the kind of advice that has me feeling optimistic again!!

thanks guys,

brian

"Mondoslug1" wrote in message
...

"me" wrote in message
ws.com...
Ok, I have made many posts lately about preamps, mics, etc. Here is
what I
am trying to do:

I am working on an instrumental guitar CD. I guess the style it is
most
similar to is Vai, Satriani, etc, but that is just because of a lack
of
a
better analogy. Basically, my lead tone is high gain like theirs.
Rhythm
ranges from sparkling clean to high gain.

Now my point - I can't afford to go in a studio so I have spent some
money
on gear I think I can use to make near pro sounding recorded guitar.
Most
of
my budget went into the guitar gear with no compromises, so I am
settling
with the other stuff.

The guitar gear is:

- Carvin dc127 guitar
- ibanez rg2820 prestige guitar
-diezel VH4S tube amp head
-koch powertone II tube amp head
-genz benz 2x12 cab (soon to replace speakers with vintage 30s)

Recording gear is
- mackie 1402vlz
-delta1010
-shure sm57, beta57a (soon to add md421 and sp c1)
-fmr rnp (soon to have)
-event 20/20bas monitors
-beyer dt770 headphones

The thing is, I have done nothing in terms of room design. Will that
hurt
the recordings, or is that mainly a control room issue (I am having
my
stuff
mixed by a pro when it is recorded)? Also, on rhythm guitar I
understand
multiple mikes are often used. What approach should I take for lead
parts?
I
am experimenting with overdubbing but it sounds pretty bad. While
that
seems
ok for rhythm, it sounds phasey with lead unless each part is played
nearly
identical both times. Also, seems most people use 4x12 cabs for
recording.
Am I truly limiting myself by using a 2x12?

thanks in advance,

brian
www.guitar-dreams.com



Screw the room. Put the 57 up super close to one speaker, move it
around
a
bit and listen in headphones to find the sweet spot (where all the tone
is).
Push the gain right into the red on the Mackie. In the mix, low pass
all
the
annoying sizzle up above 13kHz or such, high-pass all the dynamics
hogging
low end woolf, brighten the 57 with some 10kHz glassyness, and screw
with
500Hz or so for the tone. 2KHz is also a place to find some aggressive
tone. You really just have to experiment. All frequencies are of the
'ish'
variety. Double your rhythm tracks (record one, record another) and pan
them
hard left and right. Throw a bit of reverb on the lead right up the
middle.
For added separation, whatever EQ you add to the lead, remove from the
rhythm or vice-versa. ROCK ON!



good advice man. really it's an amp, mic, guitar.