Direct Guitar Recording

  • Thread starter Thread starter tonyA
  • Start date Start date

DO YOU RECORD DIRECT?

  • Never, that is lame. I mic everything - vocals, guitars, keyboard, drums

    Votes: 63 14.8%
  • Need to mic Drums, Vocals and Lead Guitar

    Votes: 81 19.0%
  • Except Vocals and Lead Guitar, I could plug everything direct

    Votes: 29 6.8%
  • Yes, with a little work I could get a good sound from it

    Votes: 254 59.5%

  • Total voters
    427
It's ok if you can get the sound you want.

I don't think there is anything wrong with going direct if you can achieve the sound that your looking for. I find when recording clean guitar it sounds good, though recording a good full distorted guitar takes more work and more processors to bring it up to snuff.

Another thing to look out for is the depth and "air" that you get with micing a guitar cabinet. I understand that you can recreate it with effects like reverb and such but it's not the same. The sound you get micing (the right way) can't be duplicated with effects, at least not to me.

So in conclusion? It's fine to do it but I'd try to avoid it as much as you can when doing recording for LP's that your going to be selling.

Hope this helps,
sonicpaint
 
I would always mic everything, drums, guitars, bass. Keys direct usually. Micing keyboards just seems weird.
 
GREAT STUDIO ACCOUSTICALLY

Since you are mic'ing everyting, you must have a studio that is not only isolated, but have great accoustics. Wow, most of us can not afford such luxury, but I am sure there are work arounds, which we try to figure out around here. I would be grateful if you could post a link to a picture of your studio! By the way, for ambiance, which efx box do you use or do you use real rooms?
 
I'm primarily a guitar player that attempts to record my own material. I've had the same problems with being able to get a great guitar sound recorded without disturbing the rest of the house. Particularly high gain sounds.

I tried various speaker simulators (ADA Microcab and Palmer PGA-04's), the POD, and finally resorted to building my own isolation cabs. This has its drawbacks as well (see my post below), but still sounds better to me than any other option.

Here's a clip where I miked a single G12H30 with an SM-57 through an ART Toob MP and a AKG C-1000s straight into an Akai DPS16. I know it's not pro quality - noisy and a little bright. Plus you can hear the plink of strings hitting microphonic pickups, but it captures the complexity of the mids much better than a simulator to my ears, which is the hardest part I think.

http://www.mp3lizard.com/download.cfm?id=6366
 
Your asking FattMusiek right?

In most cases having a room to record in is a great starting point. The room you have can be treated with acoustic foam (in the right places) creating lower refection of the sound in those areas that need it the most. A little goes a long way and the sound of many rooms can be "adjusted" to create better recordings.

I would suggest doing some research on how to tune your room for best acoustic performance. I think you'd be surprised at how much different it could be with some treatment. Give it a try! (regardless of size, if you have a space ) At the very least you'll learn something and be happy about it.

Until next time,
sonicpaint
 
Someone mentioned the Marshall emulated direct outs, which was my first thought when I saw this thread. I have recorded these things, and you know, honestly, it sounded better with the direct out than the mic'ed results. I was utterly surprised!

And the mention of Ozone... Ozone is primarily a mastering tool, not so much an effects tool... But that multiband harmonic exciter is SERIOUSLY AMAZING! It brings a lot of life to tracks fairly easily, given a bit of playtime on the program. I've been using it for mastering projects for about six months now, and i love it.

I personally would rather mic things, because of the ambience issue, of course... but hell... if direct recording works, why the hell not, honestly.
 
I don't have any fancy direct in equipment but I've heard some decent direct in tracks. They can sound cleaner, especially in the home studio. No amp buzz, crackling speaker, fried tubes, bad room, bad mic placement etc...

Just lining the guitar in through a stomp box will most likely suck. Even if you compress it and mold the sound after, if you don't like the original sound, you're still living with it while you track.

Some styles of guitar seem to work better than others.
 
I often try it...

It depends of the music style. I often try the direct outputs of the amp/preamp to hear what it sounds like.

Downward Spiral (NIN) guitars were almost all recorded direct from some cheap guit preamps (well thats what I heard, and this is possible) such as Zoom stuff in these years and, damn, can you say they didnt sound appropriate? Like they should?

So, I often try it. I also often end up with a mic for a track and direct out for the 2nd, or something like this.
 
I can remember often having to do line-in recording, and sometimes I'd have to use Radio Shack mics, and I'd do whole recording sessions drunk sometimes. This was back when I was in the Army and I had an old Tascam 488.

The recordings are funny as hell, and among some of my favorites. I must have broken every recording convention. But a line-in distorted guitar is a no-go. A clean guitar is perhaps a different story.

Turn the volume down some or use a Radio Shack mic if you have to, but please, please don't go straight into the mixer w/distorted guitar. Yuck!
 
no matter how you record, if the sound works for you, then thats the proper technique.
 
jake-owa said:
I gave the Pod away for free when I heard the Tech 21 Trademark 10 amp. The direct XLR output kills any Pod, not to mention it has a brilliant speaker sound as well.

Sansamp is a great company, I don't know why I didn't discover them sooner.

Agree 100%
 
speaker simulation anyone?

i'm suprised nobody mentioned or uses the palmer speaker simulator. i use the pdi03 with my tube-amps (ancient ampeg reverberocket and a modern fender hot rod) and i get great results.

i also use the cosm-patches of the efx in the vs1680 sometimes. i can get fairly realistic tones out of 'm, so why the hassle with the mic's ...!
 
no matter how you record, if the sound works for you, then thats the proper technique.

Agree. It's all about works for you. Who cares about what everyone else is doing!
:D
 
THE OLD DAYS

I know I am dating myself by discussing this:

In the old days when the old 45 rpm records were just being introduced and the 78 rpm records were slowly being replaced. The 12" long playing records were just starting to be secure in the market, but there were still no cassette tape recorders. I was lucky enough, however, that my father bought a 1/4" portable reel to reel recorder which he thought was a cute novelty since he saw it being used by court reporters. It had a microphone which I used to record my long playing albums by placing it ever so carefully a foot or so away from the front of the speakers of our wooden stereo console (component stereo were just being introduced at a fairly expensive price). Place it to close and the sound distorts at low frequencies. Too far and I get more ambient noise. The volume controls (stereo and the tape recorder) had to be just right also. On the average, I get to record two pieces before a car would pass by our street and blow its horn once or twice to ruin my recordings that I had to do the recodings over again.

I was satisfied with recordings I made until Philips from Australia came out with the cassette console that was offered as part of the stereo system console cabinets and was wired directly. The 7 1/2" reel to reel from Akai and Teac also started to come out but was prohibitively expensive.

Then I learned how inferior my mic'd recordings were compared to direct recordings made by my father of his favorite FM programs. Even when we had the 7 1/2" reel to reel from Akai with a shure mic, my mic recordings were still lousy. Was it the mic? Was it the room acoustics? Was it because of the tape I use? It was all of those and then some, but definitely the direct method was inferior as far as fidelity is concerned.

BUT, we know something is lost when we record direct. We lose the ever important ambiance and the feel of the sound. It is the very same reason lead guitar effects should always be recorded live, not added post. It affects our playing. In short, the loud sound of the mic'd recordings is our crutch in a way when we play. Is the mic'd method any better? I doubt it. Given the right equipment, preamp, direct box, etc., you could get a good or even excellent sound from recording direct. More, you could shape the sound better, since you could change the size of the room from a "small room large room, large hall, auditorium, stadium, church, etc." and I am just talking about reverb effect boxes. Try that with the mic'd method.

As we could see, we get more flexibility recording direct. But as recording engineers, we know we have to please the guitar players ego as it affects his playing. A good recording engineer could give you an adequate recording, direct or otherwise. BUT, ask him what he prefers if he has to alter or change the sound later, I am sure you could guess the answer, unless, of course, he is the lead guitar player himself, he needs the crutch and/or reassurance as he plays.

This is the same reason the mixing console manufacturers gave us a separate monitor mix section where we could alter the sound we feed the players/recording artist through the headphones or otherwise or give them a different mix/taste of effects for each individual players as necessary/preferred, which could entirely be different than the one we send to the recording medium.

Just think if the player like to hear himself, give him the same speakers/monitors, with the effects he desires, twisted and toned to his heart content, but just let it pass through the recording console first. This is where it matters. (You could mic this also and send it to a different track just for comparison, just make sure the standard you use for "what is a better sound" is the same for both methods). I am sure your findings would be the same as most people on this thread already found out.

I am only talking about lead guitars. Some intruments have to be mic'd, of course (sax, trumpet, etc.).

I am happy to discover, that most people on this thread feel the same way I do, as evidenced by the survey results. Thanks guys!

.
 
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Tony thanks for sharing!

Tony I enjoyed your short story and I think that you've brought out some great points. As to you showing your age? Where would all the younger guys be with out the older and more experienced guys sharing their knowledge and experiences. I think it's great when people such as yourself take the time to share things they have learned.

Thanks for sharing!!
sonicpaint
 
- Oh, I was so much older then, I'm younger than that now! -

;)
 
As I think I mentioned on the previous page,...

that direct line-in recording of electric guitars and bass can sound notoriously "dead", BUT, if you train a close-mic on the strings and body of the instrument, and MIX the mic sound with the LINE sound, it can cure that problem, very well, and will bring back the natural ambience and LIFE to the track.

That's an easy, simple technique, that I swear by. And it works, too!;)
 
YOU WOULDN'T BELIEVE THIS!

Lacking a preamp/direct box to plug the guitars directly to the mixer, we plugged them to the amp, but - listen to this - but - we plugged a cord from the amp's headphone jack and in turn plugged it to the mixer's line input. A few adjustments in the input trim to get the sound right and we are in business!

You wouldn't believe this, it sounded like the amp mic'd with the best mic! Need ambiance? We turn the reverb on the amp itself or added a little from the board.

Has anyone tried this? Did we stumble on something that seems to be the best compromise? It is not perfect, but like we said, a good compromise. We got the amp sound - direct!
 
I run thru a digitech preamp, 1 output to tube preamp then into mixer.2nd output to tube amp to isolation speaker miced with a 57 to tube preamp to mixer.Sounds good and doesn't disturb the neighborhood.
 
Would it be fair to say that having a multitude of different amps on hand to try reamping a guitar signal is where the concept of amp modeling was born?

:)
 
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