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chiefnoshow
New member
you want it to sound like that get a nice rig and go into a pro studio. that band's sound is the product of countless hours of post-production, mixing, and editing.
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didgijimmy
vexed
ALOT of bands are the result of countless hours of post production, mixing, and editing, and alot of stuff you find on this forum are the result of countless hours of mixing, and editing. That's kinda the point of HR. To make a recording you can be proud of, that stands up or is on it's way to standing up with what comes out of a "pro-studio."
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soundchaser59
Reluctant Commander
I dont know how you can get that sound, but I know what wont work......
You wont get that sound just recording 1 or 2 tracks with one SM57 and then doing some clever panning. All the reverb and eq in the world wont get that sound from 1 or 2 SM57 tracks. I'm sure there's a lot more to it than that......
Hopefully, you are starting with a great rig, great speakers, great pickups, great preamps, etc.....??
You wont get that sound just recording 1 or 2 tracks with one SM57 and then doing some clever panning. All the reverb and eq in the world wont get that sound from 1 or 2 SM57 tracks. I'm sure there's a lot more to it than that......
Hopefully, you are starting with a great rig, great speakers, great pickups, great preamps, etc.....??
starbuck26
New member
why do you want to sound like this band?
methinks they suck.
methinks they suck.
didgijimmy
vexed
wow,
I didn't actually listen to them until I saw your post Starbucks, but I pretty much agree. It's like they use drop d chugging as an intro, so that you think they are a metal band, and then the rest of the song is Starting Line esq pop/punk dime a dozen radio friendly boy band IMHO. I don't want to turn this thread into a band basher, just dont really get it I guess. I also really don't understand why they have someone screaming behind everything the dude sings in the verses. Just sounds corny.
But Jammer, if that's what you want I definitely recommend pretty much what the general consensus was earlier, there are alot of great guys on HR who do metal really well, check them out. I believe LegionSerial is one, or something like that anyway. And remember the gain thing, I think you will understand why when you apply it.
Luck
James
I didn't actually listen to them until I saw your post Starbucks, but I pretty much agree. It's like they use drop d chugging as an intro, so that you think they are a metal band, and then the rest of the song is Starting Line esq pop/punk dime a dozen radio friendly boy band IMHO. I don't want to turn this thread into a band basher, just dont really get it I guess. I also really don't understand why they have someone screaming behind everything the dude sings in the verses. Just sounds corny.
But Jammer, if that's what you want I definitely recommend pretty much what the general consensus was earlier, there are alot of great guys on HR who do metal really well, check them out. I believe LegionSerial is one, or something like that anyway. And remember the gain thing, I think you will understand why when you apply it.
Luck
James
Jammer429
New member
thanks everyone and the reason I am and wanting to get a sound like that is because alot of bands in my area play music close to that so I am trying to get the sound that the people are wanting ..maybe if I was to put one sm57 close to the edge of the speaker on the cone and a condenser left center maybe I would get closer to that sound what do you guys think??
legionserial
New member
Wow...thanks...
You know I'm just a hack...certainly not an expert. I really don't expect to get props like this. I'd love to part with some of my 'expertise' but I really don't have any. I just know what I like.
To the OP. I know you had mentioned that you double track the guitars left and right, but it's worth doing 2 left, 2 right, like an extra layer to thicken up the sound. If you can do the extra layer with a different amp to the first layer aswell you might have even better results.
Oh and crank the mids. Don't scoop them under any circumstances. You need those mids to cut through the mix.
About all else I could say is to experiment. Record a little with different mic placements, take notes, and see what you like best. How it goes in is the most important thing. I personally don't do a damn thing to the guitars once they're recorded barring rolling off the lows from 100hz occasionally. For high gain guitars you shouldn't need to use compression at all.
suprstar
It aint ez being green
I came to say pretty much that, I've been playing with that lately - 2 tracks on one amp, pan one hard left and the other medium right. 2 tracks on the other amp, panned hard right and medium left. Sounds good to me, but I was getting decent results with just 2 tracks too, so I didn't dive too deep into it.
Keep the mids up, gain down, check... If that's not working for you, I'd take a look at the room you're tracking in.
Steve Henningsgard
New member
Boy, this thread started out with some not-so-great advice, but the last two posts pretty much nailed it.
That said, what equipment are you working with typically? I'm sure each band brings in their own "über wonder amps" (read: Crate), but do you have any studio amps? One of the best things I did for the sound of my recordings was to get a nice amp and let people rent it out for their recordings. Although I don't prefer them for my own tone, a Mesa Triple Rec dialed in just right, with the right tubes in it, and the right guitar plugged into it, with the right player, can sound non-shitty for recordings. I think the best recording amp I've ever had was a Marshall JCM2000 DSL. I'd bet the TSL would've given me even more options, but they know what they're doing over in Marshall tube-land.
Anyway, post your rig.
*edit: The link to that band wasn't working, who was it?
That said, what equipment are you working with typically? I'm sure each band brings in their own "über wonder amps" (read: Crate), but do you have any studio amps? One of the best things I did for the sound of my recordings was to get a nice amp and let people rent it out for their recordings. Although I don't prefer them for my own tone, a Mesa Triple Rec dialed in just right, with the right tubes in it, and the right guitar plugged into it, with the right player, can sound non-shitty for recordings. I think the best recording amp I've ever had was a Marshall JCM2000 DSL. I'd bet the TSL would've given me even more options, but they know what they're doing over in Marshall tube-land.
Anyway, post your rig.
*edit: The link to that band wasn't working, who was it?
starbuck26
New member
up-fiddler
Taming the World--for now
didgijimmy
vexed
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jimmy77611
New member
Guitars on these recordings sound like they're not mic'd amps. They're so fuzzy, it sounds like they were done line-in with some type of pod type thing.They don't seem to have that ambience to them that a mic seems to produce. I could be wrong.
didgijimmy
vexed
Can you clarify fuzzy?
They've been compressed and equed and highly "produced" but from what I understand as a general rule "line-in" should be avoided. I heard once that smart people+ good equipment+ good players= quality sounding recordings.
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doulos24
New member
DrewPeterson7
Sage of the Order
Wow...thanks...
You know I'm just a hack...certainly not an expert. I really don't expect to get props like this. I'd love to part with some of my 'expertise' but I really don't have any. I just know what I like.
To the OP. I know you had mentioned that you double track the guitars left and right, but it's worth doing 2 left, 2 right, like an extra layer to thicken up the sound. If you can do the extra layer with a different amp to the first layer aswell you might have even better results.
Oh and crank the mids. Don't scoop them under any circumstances. You need those mids to cut through the mix.
About all else I could say is to experiment. Record a little with different mic placements, take notes, and see what you like best. How it goes in is the most important thing. I personally don't do a damn thing to the guitars once they're recorded barring rolling off the lows from 100hz occasionally. For high gain guitars you shouldn't need to use compression at all.
Amen.
I will typically do a LITTLE more post-production work than you, for two reasons. One, I play a seven string, and while a low E will have a fundamental down in the 80hz range, a low B will typically be a bit lower, around 60hz. So, I've got a bit more low end to work with than you, and it gets that much closer to the bass. I'll almost always do some sort of a low-pass, typically 60-80 hz, maybe 80-160 for leads.
Also, occasionally I'll run a low-pass or a low-shelf down -3 or so on the guitars in the 8-10k range just to clear up a little bit of high end fizz. It's the kind of think where, set right, you can't really hear the change in the mix, but if you solo the tracks it's clearer. I play a Recto, it's got a lot of presence, but ultimately I suspect what this means is that my mic placement just isn't perfect in the first place, and not that this is necessarily great advice.
Aside from that though, spot on.
didgijimmy
vexed
holy shit her arms are long.
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mrface2112
Well-known member
LOL, i was going to suggest "get a big guitar?" and then someone went and posted a picture of one.
Big guitar sounds are easy: Les Paul/Strat/Tele -> Marshall JTM45 or 50W Plexi -> 4x12 cabinet with celestion golds -> BIG LIVELY ROOM -> sm57/senn421 up close, U87 6-10ft back. Rinse, repeat for layering. Record to tape through a Trident or Neve and limit, compress and eq to taste.
You can do something similar with a Deluxe Reverb. Even a Champ will give you excellent guitar sounds (although the 8in speaker's a little anemic for rhythm work). Or try a 5E3 Tweed deluxe set on stun....it works for Ted Nugent and Neil Young.
But if you want to do what the numetal and shoegaze guys are doing, just get a POD.
cheers,
wade
Big guitar sounds are easy: Les Paul/Strat/Tele -> Marshall JTM45 or 50W Plexi -> 4x12 cabinet with celestion golds -> BIG LIVELY ROOM -> sm57/senn421 up close, U87 6-10ft back. Rinse, repeat for layering. Record to tape through a Trident or Neve and limit, compress and eq to taste.
You can do something similar with a Deluxe Reverb. Even a Champ will give you excellent guitar sounds (although the 8in speaker's a little anemic for rhythm work). Or try a 5E3 Tweed deluxe set on stun....it works for Ted Nugent and Neil Young.
But if you want to do what the numetal and shoegaze guys are doing, just get a POD.
cheers,
wade
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jimmy77611
New member
They just seem to have that "fuzziness" or "Buzziness" that is associated with recording distorted guitars line-in. Take a distortion pedal, plug it into your mixer instead of an amp, and you'll hear what I'm talking about. I agree with, smart people+ good equipment+ good players= quality sounding recordings. In this case, it sounds line-in to me. Like I said, I could be wrong about this recording.
legionserial
New member
Now that you mention it, I have a 7-string and the few recordings I've made with it, I've had to do a lot more post production work too, mostly to get some clarity out of the lows without making the highs too brittle.
I've had to deal with high end fizz too on a few recordings. Usually I just do an EQ sweep until I find the offending frequency and notch it out a little. I'm not too keen on low passing high gain guitar myself, as I find certain high frequencies give the guitar some "air", and losing that air makes things sound a little boxed in. But again, horses for courses.
In the past I've had a whole layer of guitar tracks that I low pass the crap out of and mix fairly low, just for the purpose of adding some low end to the guitars to beef out the sound. I find it works quite well if mixed with a layer of fairly midrangey/trebly guitars.
Such is the routine with mixing. Or lack of routine as it may be. I think the only true formula is to deal with whatever the mix throws at you in the way that seems to work best.