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Thread: Muddy and Fizzy Guitar Recordings

  1. #21
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    I totally get it. I fooled around with the virtual amps in GarageBand today for a bit and got some pretty cool sounds our of it, but at the end of the day, I really enjoy the process of learning how to record with a mic. I am glad I made some significant progress today. The area near the edge of the speaker is where the edge of the speaker is. That's where it sounds most like the amp in the room. Understanding that that is where the sweet spot is now allows me to fine tune things to taste if I ever do some real recording with the band I am working on putting together.

  2. #22
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    Quote Originally Posted by GONZO-X View Post
    moving to a Palmer PDI-09 was just simple genius for me....

    i can still mic all i want,
    but this thing gives me clarity.
    mixes well.
    use it live.
    it's all good.
    Pretty much the same thing as the H&K RedBox. I still have the original one I bought back in the early '90s, though I've kinda forgotten about it, and it's been lost in my pile of pedals.
    I'll have to remember to bring it out again and use it on some things when I want to both mic and DI as a safety.



    Quote Originally Posted by Seventh Son View Post
    Understanding that that is where the sweet spot is now allows me to fine tune things to taste if I ever do some real recording with the band I am working on putting together.
    Early on you said you tried every mic position, so I think people assumed you also put it in that 3/4 spot.
    Thing is...I wouldn't make the assumption that it's always going to be the only sweet spot, unless you record your guitars to sound exactly the same way for every song.

    That's also way I don't get hung up on the SM57 thing as the go-to mic...because I'm not looking for the same sound every time.
    So it pays to experiment with both mics and position if you're doing a wider range of guitar styles and sounds.
    Like I mentioned earlier...look for a used AKG D1000E...it's fantastic for guitar cab work, and you often don't need to use another mic with it and blend, like you usually do with a SM57.
    No one was using them, and now a lot of people use them thanks to the internet....I guess I'm also partly to blame, for telling folks.
    Just make sure the seller tests it and also offers returns/refunds. They are old, out of production mics....but worth every penny when they are functional, and even though their prices have gone up the more people learned about them, you can still find them for not more than the cost of a new SM57.

  3. #23
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    Quote Originally Posted by miroslav View Post
    Pretty much the same thing as the H&K RedBox. I still have the original one I bought back in the early '90s, though I've kinda forgotten about it, and it's been lost in my pile of pedals.
    I'll have to remember to bring it out again and use it on some things when I want to both mic and DI as a safety.

    Early on you said you tried every mic position, so I think people assumed you also put it in that 3/4 spot.
    Thing is...I wouldn't make the assumption that it's always going to be the only sweet spot, unless you record your guitars to sound exactly the same way for every song.

    That's also way I don't get hung up on the SM57 thing as the go-to mic...because I'm not looking for the same sound every time.
    So it pays to experiment with both mics and position if you're doing a wider range of guitar styles and sounds.
    Like I mentioned earlier...look for a used AKG D1000E...it's fantastic for guitar cab work, and you often don't need to use another mic with it and blend, like you usually do with a SM57.
    No one was using them, and now a lot of people use them thanks to the internet....I guess I'm also partly to blame, for telling folks.
    Just make sure the seller tests it and also offers returns/refunds. They are old, out of production mics....but worth every penny when they are functional, and even though their prices have gone up the more people learned about them, you can still find them for not more than the cost of a new SM57.
    The thing is, I did try every possible mic position, including the 3/4 spot, but I never dwelled too much on it, because it sounded a bit dull the more I listened to it, and also everyone else swears by the cap-meets-cone position, so I got too hung up thinking that I must have been doing something wrong, since everyone else seems to think that the cap edge position is pretty much fool proof. However, for classic rock and classic metal, I think that it is necessary to get closer to the edge, as that is where the desired midrange is. I still wonder how so many people get acceptable raw tracks from the cap edge position. To me, there's pretty much nothing but fizz there.

  4. #24
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    Quote Originally Posted by Seventh Son View Post
    However, for classic rock and classic metal, I think that it is necessary to get closer to the edge, as that is where the desired midrange is. I still wonder how so many people get acceptable raw tracks from the cap edge position. To me, there's pretty much nothing but fizz there.
    It depends a lot on the speaker, the cab, the room and the mic(s).

    For your V30...your sweet spot ended up at 3/4 position.
    With a different speaker and setup, it may indeed be at the edge of the dust cap...and on another one it might be at the outer edge of the cone.

    Really...don't go by what everyone swears. I think a lot of that is just internet regurgitation of information, and suddenly it becomes gospel, and many people never even bother trying anything else and experimenting with their gear.

    That "known thing" might be a starting point, but if it's not working for you, don't let it frustrate you as to why...it just isn't, so you have experiment and find what does work.

  5. #25
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    Since we are letting out secrets....Miroslav......The AKG D1000E has been a secret weapon on HiHats for years for me. The roll-off switch is kinda magic....
    Chord with this, Teddy......

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  7. #26
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    I'll add this one: don't religiously set your mics on axis. Just by moving the mic to more of an angle to the speaker grille you can get more tonal variety.
    Win 7 Ult Dell i7 4core 6700ghz 32 GB, 1,2x2, 4 Tb Barracuda HD's running Pro tools 2019 through Allen&Heath Qu-32

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    Quote Originally Posted by miroslav View Post
    Pretty much the same thing as the H&K RedBox.
    well, the first unit i tried with a cab filter and line out was a H&K Redbox,
    and it didn't sound anything at all like the Palmer.
    i couldn't use the Redbox.

    i've also used the Radial JDX, and that sounds really nice too.

  9. #28
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    Quote Originally Posted by cavedog101 View Post
    Since we are letting out secrets....Miroslav......The AKG D1000E has been a secret weapon on HiHats for years for me. The roll-off switch is kinda magic....
    I've got 4 of them....and will never let them go.

  10. #29
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    Quote Originally Posted by GONZO-X View Post
    well, the first unit i tried with a cab filter and line out was a H&K Redbox,
    and it didn't sound anything at all like the Palmer.
    i couldn't use the Redbox.

    i've also used the Radial JDX, and that sounds really nice too.
    How they each sound is kinda subjective...I'm just saying that it's does the same kind of thing, and also there have been revisions to the H&K.
    My old one only has a Combo/412 switch, and not all the switch options that the Palmer has.

    I also have the Radial JDX...though TBH, I've not used it for guitar purposes much. I use it more with my Hammond Organ for that same DI purpose.

  11. #30
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    Having read scores of "I can't get a good rock guitar recording" threads over the years I have come to the conclusion that a deceased nag is being unecessarily hit here? The advances in pluggins, emulation and modelling are such that recording a loud stack is, from much that I read, no longer needed?

    As ever: Sound on Sound Aug 07.

    Dave.

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