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Thread: Guitar Amp Sounds Great But Records Poorly

  1. #11
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    The people recommending putting your ear next to the mic have never tried getting the cabinet out of the room where they are tracking.

    As far as running back and forth adjusting the mic--five minute tops, the first time or two that you record with a new cabinet or guitar. After you figure it out, it takes no time at all.

  2. #12
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    Quote Originally Posted by Robus View Post
    The people recommending putting your ear next to the mic have never tried getting the cabinet out of the room where they are tracking.
    Well isn't that the best way??
    Out of the room.
    This way you're hearing through monitors or headphones what is actually being recorded.
    No hocus pocus. When you're in a room with a Marshall and a 412 cooking on high heat, it can be very misleading. You got air hitting you, got guitar bouncing all around the room, you feel it chugging in your gut, and maybe most have the emotional thrill of it all.

    A mic has no emotions. A 57, which is the most common guitar cab mic, isn't going to pick up anything except what's right in front of it. Very clinical.

    So, with the cab elsewhere, you're listening to what the mic can pick up.

    Now that can be uninspiring compared to being in the room. You're also losing the pickup/speaker interaction you'd be getting if you're close to the cab.
    The solution to that is to be in the room with your amp and have someone else engineer.

    You can however, achieve that by yourself in the control room by having big monitors cranked up. Play off of those while having the cab elsewhere. Using this technique I've been able to get feedback from an amp as small as a fender champ.

  3. #13
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    I didn’t mean crank the amp. I got this from recording at Chapman’s in Kansas City back in 1978. I was young, had what I thought was excellent sound ( because I kept hearing from standing room position). Using a 1972 Marshall with pre Rolla greenbacks( I mention this because if you’ve used this set up, you know it can sound great). I was fussing at Guido about the sound we were getting. He came in turned the amp down, said kneel down here and play. Crap was it too top end fizzy, and way to much distortion. Great learning experience.He made some tweaks, then things started to sound a lot better. Yes loud is good but, you can shape tonally at a softer volume.
    Did the same thing with Ed Rose at Blacklodge. Shaped the main tone at a lower level cranked it up tracked a few bars, made some quick adjustments, sweet sounds after that. So no don’t kill your ear, but don’t be afraid to give your speakers a listen at a lower volume.
    Last edited by Toastedgoat; 1 Week Ago at 13:04.

  4. #14
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    The point is - what you hear in the room, is not what the mic hears up close to the speaker. Gorge Martin preferred having the mic out several feet from the amp (of course in a quality-sounding studio) so the sound from the speaker had the chance to 'move some air'. Most of us don't have good enough rooms to do that.
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  5. #15
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    i have to agree with this... most forget that every bit of processing, preamps,mic and it's preamp, on down the line have several processings going through a signal chain that can distort a really great signal...when i record my guitar parts i use either a Mesa Boggie or Fender both with 12" but one is different than the other ...but that being said if you use too much gain to start with it can become too distorted and thin from TOO MUCH initial gain... when i have either played live or run sound for another band i have often had to back my gain down if miced through a system for a large venue and have had to have other guitarists, clean up their signal slightly,. By the time it goes through a mic, a mixer, other EQ's associated with the system and then power amps to mains you can have too much gain at the beginning... likewise with can always add but you can not take away when it comes to recording... cut back any verb you maybe be using as well...can add it later unless there is a specific tonal thing you are looking for...but it ALL depends on genre, sound you want to get, and somestime "LESS IS MORE"... also it maybe the 10's...not a fan of micing a 10 for recording unless you try a large diaphram ( it does not have to be 3000 dollar Nuemann ) a few feet away as well as a good dynamic over the cone...what mic are you using also...if using say SM57 try a 58 etc. try the large diaphram say 3 feet away and up in the air slightly to get a "room" tone

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