How do YOU record guitar?

[Michael J]

This is basically just a thread to see who uses what techniques to get their favorite guitar sounds. I am referring to mic'ing amps, not using a POD or something of the like. Do you just use a good 'ol 57 and go straight into the Digi? Double mic? What kind of room? How loud do you have the amp? Really, this is the only thing that plagues me. For some reason, I just can't get a good distortion sound recorded, and was interested in knowing what some of you folks did to get your sound. Thanks in advance to all who repsond!

[steals]

78 Les Paul Custom with Dimarzio Super Dist PU, 1976 50 Watt Marshall at sweet volume with Marshall 30 Watt Vintage Celestion 4x12, a Sure 57 through a Universal Audio M610 Vacuum Tube Mic Pre to Digi Input 3.

Hello... Lets GO

[Phil O'Keefe]

Getting a good guitar tone can be a real perplexing task for a lot of home recordists. IMO, the tone has to start at the player... then the guitar and then the amp and then the room... and THEN the mics, preamps, etc.

Another point - one person's great distorted tone is someone else's garbage. So, question #1 is - what type of distorted tone are you looking for?

Question #2 - Gear - what type of guitar / amp are you using? What do you have available for mics and preamps?

Rooms are fairly easy - you can try different rooms around your house. Living rooms, bathrooms, hallways, empty garages, etc. Experiment and listen and document what works so you can repeat it again later.

A few generic tips while waiting to hear back from you:

Sometimes people tend to go for TOO MUCH gain on their amps or distortion pedals. Sometimes you need less than you might think...

Do you have the Bomb Factory Sans Amp plug in? If so, try "multing" the guitar to a direct box / line in on your Digi, and out to an amp with a mic on it, with each recorded on their own seperate tracks. You can then play with the tone of the unprocessed / direct guitar with the Sans Amp plug.

Try multi - mic techniques. I prefer to route each mic to its own track, but I'm not stuck with the 24 track limit I'd be facing if I "only" had the Digi 001 (I also have hardware hard disk recorders). You can try a '57 at practically grille touching distance. Try it with the mic on axis to the speaker... experiemnt with the mic pointed directly at the center of the dust cap, and also directly at the "edge" of the cone (outer edge). I COULD tell you what the difference in tone is, but you're more likely to remember in the future if you try it (and hear it) for yourself! [img]images/icons/tongue.gif[/img] [img]images/icons/wink.gif[/img]

Another technique which gets used a lot is to have the mic angled about 45 degrees relative to the grille cloth... usually with the mic placed close to the speaker's "edge" and angled inwards towards the center of the dustcap.

In addition to the umbiquitous SM-57, I also frequently use other dynamic mics up close, including the E/V RE20, and the Sennheiser MD421. Ribbon mics such as the Royer 121 and the Beyer M160 can also give some very cool sounds.

Condensers can also be used with great results. I've used AKG C-414's up close (sometimes you need to use the pad), but usually I'll use condensers further back, as "room mics". If you're using a 4X12 cabinet, try placing a condenser about 6' back at about chest height. Move the mic closer or further from the amp depending on how much "room tone" you prefer. Sometimes pointing the mic at a opposing WALL (instead of at the speaker cabinet) can give great results.

If you're using an "open back" cabinet (such as those on Fender and Boogie combo amps), a REAR mic can give cool tones as well. Sometimes I'll have a '57 on the front, a 421 in the back and a condenser as the room mic - with each going to their own track for later blending.

Oh, one more general suggestion - watch your phase with multiple mics - you may have to flip it on one or more tracks.

[Gr0und_Zer0]

I allways use the good old SM57. I tried using a C1000 once but didn't work out for me (I was after a death metal sound). Most amps and cabs that come in here is that kinda standard JCM 900, 4 x 666" [img]images/icons/tongue.gif[/img] combination.

I only mic 1 of the cab speakers, about a 3/4 inch away from the grate. Pointing down, away from the center of the speaker.

Looks a bit like this:

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I'm thinking about experimenting with a second mic at the back of the cab. Probably have to phase-inverse that track.

[Gr0und_Zer0]

Whoops... My ASCII art looks like **** ...

Anyway, I forgot to mention EQ and distortion settings (metal sound): Not too much of it, but certainly not too little! Maybe use compression (before adding distortion). Don't scoop out the mid while recording! You can allways do that when mixing. If it's not there in the first place, you can never add it again!!!

[8mmOverdose]

I have been using the 57 for years, but i am going to experiment on my bands next project. one thing i have found is even though the "room" sound of the amp sounds great, the "recorded" sound might not. my guitarist uses a $5000 VHT rig that sounds incredible. but when i put a 57 in front of it and recorded, it sounded terrible. in this case we adjusted the tone until we got a good recorded sound. we also found that backing off on the distortion helped as well. oddly enough the "room" sound was crap, but the recording sounds great.
http://mp3.com/8mmOD

[Superclock]

First I put my amp in the bathroom. I put a 57 on one speaker (of a 4x10 or 4x12) and a large diaphram condenser on another speaker, same distance from the cab, and another large diaphram condenser about two to three feet away. If you don't have someone to move the ambient mic, just record all three tracks separately and put the ambient mic in phase by moving the track ever so slightly until you get the most bass response from all three mics. The two close mics should already be in phase. I then split the two close mics hard left/right, delay one of the close mics by about 5-15 ms and bring the ambient mic up in the center. HUGE tone! I rarely have to double track guitars. But who the hell am I?

[Mr_Seven]

I'm tring to get that "Linkin Park" Guitar sound. Any suggestions?

[geminirand]

Might wanna start a new thread with that. Probably get more responses......

[mattm]

<BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:<HR>Originally posted by Mr_Seven:
I'm tring to get that "Linkin Park" Guitar sound. Any suggestions?<HR></BLOCKQUOTE>

amp farm > mic modeller.

i have no real set method but if the guitar is loud, there's generally a 57, an M49 and lately you might even catch me using the Rode Classic II(!) sometimes i dust of the ol' RCA 44BX too. i'm not sure why i persist with the 57 as the fader always seems to end up resting at the lower stop.

if the guitar is softer (or the volume can be contained) i reach straight for the trusty Coles 4038. you just can't go wrong with that mic - i use it like my lungs.

if i decide ambience is the order of the day, it usually comes from a "colourless" mic such as an Earthworks or B&K small diaphragm omni-directional condensor which i move around until it sounds right. (you might also wanna try moving the amp round the room to find the best position before you even think of placing a mic within earshot)

my preferred mic amps are Neve 10xx series, API 512+550B or Focusrite ISA115. i've also had excellent results from a number of other preamps, especially an eight channel unit a guy in brisbane makes which is perfect for 001 users (a little pricey though at AUD$3000)

~matt