Metal Guitar recording tips??
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rocky outcrop
New member
I like the knife bit I'm gonna try that even if im not recording
sjoko2
New member
I've posted a song I just did here:
http://www.nowhereradio.com/artists/album.php?aid=1860&alid=-1
Not a metal track, but some heavy guitar with (I think) a good sound.
Guitars have been recorded as described earlier in the thread, THD UniValve, Marshall 4 x 12 with vintage Celestions, Shure SM57, Shure SM7, Precission 8 preamp, and a Gibson Les Paul.
No processing has been applied apart from some heavy gating on "the way in".The low end shelved to zero at 47 Hz (there was to much low).
http://www.nowhereradio.com/artists/album.php?aid=1860&alid=-1
Not a metal track, but some heavy guitar with (I think) a good sound.
Guitars have been recorded as described earlier in the thread, THD UniValve, Marshall 4 x 12 with vintage Celestions, Shure SM57, Shure SM7, Precission 8 preamp, and a Gibson Les Paul.
No processing has been applied apart from some heavy gating on "the way in".The low end shelved to zero at 47 Hz (there was to much low).
Light
New member
Metal guitar is real simple. You take a Les Paul, plug it into a Marshall, turn everything up to ten, but turn the mids all the way down, and put in your ear plugs. Put a 57 in front of one of the speakers, and hit record. Works every time.
Sorry if I'm a wiseass.
Light
"Cowards can never be moral."
M.K. Gandhi
Sorry if I'm a wiseass.
Light
"Cowards can never be moral."
M.K. Gandhi
I don't think Shure SM 57 is the one and only mic to record guitar with. Theres a lot of dynamic mics around. I most often prefer a CAD (think the number is 89 something) on guitar, more open sound than the quite nasal sounding SM57.
Same on snare drums, I've made a lot of A-B tests and found out that an Audio Technica dynamic is one of my favourites.
I think the best way to find the right sound is to begin with trying out some different mics and listen to the results. Don't let the listeners know what mic you're playing, just choose the best sounding and start there.
Hans,
www.hagen.nu
Same on snare drums, I've made a lot of A-B tests and found out that an Audio Technica dynamic is one of my favourites.
I think the best way to find the right sound is to begin with trying out some different mics and listen to the results. Don't let the listeners know what mic you're playing, just choose the best sounding and start there.
Hans,
www.hagen.nu
SilentSound
New member
i agree with the mids..
the way i attack a meaner guitar sound is
1- using an SM-57 up close
2- using a condenser a few feet away
3- cutting more bass than you think you should, and boosting a bid of mids at the amp
4- crank the amp but NOT TOO MUCH! (match the clean and distortoin channels of a tube amp and see if you can get the clean to only slightly break up
5- i actually get a more chugga chugga heavy sound from a solid state preamp and no compression of any kind ever as opposed to a tube preamp.. all the compression you need is happening already in the tubes!
the boost in mids also drastically smooths the distortion.. too much bass makes the tubes break up flabby.. mids make it break up evenly and thicker
i also cut the mids after tracking like this.. after a good balance between the two mics is as good as EQ
i think the big part of it is the mid thing, not going to crazy with all the gain it's easy to make it sound good for live but for recording is a different story.... rock
matt
the way i attack a meaner guitar sound is
1- using an SM-57 up close
2- using a condenser a few feet away
3- cutting more bass than you think you should, and boosting a bid of mids at the amp
4- crank the amp but NOT TOO MUCH! (match the clean and distortoin channels of a tube amp and see if you can get the clean to only slightly break up
5- i actually get a more chugga chugga heavy sound from a solid state preamp and no compression of any kind ever as opposed to a tube preamp.. all the compression you need is happening already in the tubes!
the boost in mids also drastically smooths the distortion.. too much bass makes the tubes break up flabby.. mids make it break up evenly and thicker
i also cut the mids after tracking like this.. after a good balance between the two mics is as good as EQ
i think the big part of it is the mid thing, not going to crazy with all the gain it's easy to make it sound good for live but for recording is a different story.... rock
matt
volltreffer
Imply depressed
High tgs!
One thing that might be your problem with the 300-400Hz is something I had to struggle with (though I do punk rock!). Whenever my guitarist played his very fast palm muted stuff, there would build up low mids around your problem freqs. When I cut these away with EQ, the guitar sound somehow was powerless. I got rid of this problem during mixdown (I did not even recognize it while recording
) using compression. Slow attack and release and it worked nice for me... BTW the powerchords came out much more powerful, too.
I'm absolutely not sure whether this might be the right direction, but you'll surely know it soon
aXel
One thing that might be your problem with the 300-400Hz is something I had to struggle with (though I do punk rock!). Whenever my guitarist played his very fast palm muted stuff, there would build up low mids around your problem freqs. When I cut these away with EQ, the guitar sound somehow was powerless. I got rid of this problem during mixdown (I did not even recognize it while recording
) using compression. Slow attack and release and it worked nice for me... BTW the powerchords came out much more powerful, too.I'm absolutely not sure whether this might be the right direction, but you'll surely know it soon
aXel
Hey all
I've been quiet for a long time now, but anyway, I've gotten quite a few tips, from you guys of course (thanks!) and from some other people, and I've managed to get a way better sound than before. What surprised me though, was that a LITTLE change can do a LOT.
Someone also pointed out that if I had to tweak the signal that much with EQ, then I didn't have the right sound to begin with. True. That made all the difference, and now I feel a bit more content with my production abilities. I still have a long way to go though, but one step at a time...
I've been quiet for a long time now, but anyway, I've gotten quite a few tips, from you guys of course (thanks!) and from some other people, and I've managed to get a way better sound than before. What surprised me though, was that a LITTLE change can do a LOT.
Someone also pointed out that if I had to tweak the signal that much with EQ, then I didn't have the right sound to begin with. True. That made all the difference, and now I feel a bit more content with my production abilities. I still have a long way to go though, but one step at a time...
SilentSound
New member
sorry for my delayed response but..........
exactly! use it(phase) to your advantage.. it depends on how much of each signal you mix together as well as the distance of the mics.. if you have the distance of the mics right, then the proportions can be a matter of taste.. but if the distance is off you have to find a balance you're supposed to use a 1 to 3 rule of distance when double mic'ing i use that on snare, bass drum but with guitar its really a matter of finding the right distance and the room sound.. for a rhythm guitar i try to record in a dead room or make the room dead some how.. here check this out.. it's hardly metal guitar but on this band's recording, i double mic'd almost every single guitar part.. dig this
http://artists.mp3s.com/artists/283/the_real_classics.html
exactly! use it(phase) to your advantage.. it depends on how much of each signal you mix together as well as the distance of the mics.. if you have the distance of the mics right, then the proportions can be a matter of taste.. but if the distance is off you have to find a balance you're supposed to use a 1 to 3 rule of distance when double mic'ing i use that on snare, bass drum but with guitar its really a matter of finding the right distance and the room sound.. for a rhythm guitar i try to record in a dead room or make the room dead some how.. here check this out.. it's hardly metal guitar but on this band's recording, i double mic'd almost every single guitar part.. dig this
http://artists.mp3s.com/artists/283/the_real_classics.html
SilentSound
New member
phase problems...
can you describe to me the room, mics, cabinet, head, pedals if any, settings.. etc so i can better understand and troubleshoot your situation?? the room i had to work with in the recording you heard was very odd, but mattresses, a little foam, placement and a little imagination drug a pretty happening sound out of it one thing to do is imagine the total path of the sound.. it sounds a little complitcated and crazy but it really works for me also there are a few simple ways to figure out what frequency a room will resonate at..
with a room mic in some cases, i also had the opportunity to "slide" the track in sonar for a slight delay then pan the two apart which totally decreases phase concerns.. this is really for a lead type sound though panned hard L and R and one track slid a little.. still let me know your set up rock
matt
can you describe to me the room, mics, cabinet, head, pedals if any, settings.. etc so i can better understand and troubleshoot your situation?? the room i had to work with in the recording you heard was very odd, but mattresses, a little foam, placement and a little imagination drug a pretty happening sound out of it one thing to do is imagine the total path of the sound.. it sounds a little complitcated and crazy but it really works for me also there are a few simple ways to figure out what frequency a room will resonate at..
with a room mic in some cases, i also had the opportunity to "slide" the track in sonar for a slight delay then pan the two apart which totally decreases phase concerns.. this is really for a lead type sound though panned hard L and R and one track slid a little.. still let me know your set up rock
matt
so i got my sm57 miced just how i want it to sound (alone).....
it is about 1-2 inches from the cloth....pointed off center to the cone...sounds very crisp and cruntchy - great with 2 tracks panned a bit with this setup.
then, i set up my MXL603s (condensor) to try multiple set-ups.
1 - about 5 feet back..pointed at the amp..away from the amp, high,, low, medium, everything.
2 - i then tried the same positions about 3 feet back
3 - then 2 feet
4 - and lastly pretty close to 1 foot, perhaps a bit more.
no matter where i put it, when i recorded tracks with both mics on - it sounded somewhat FLANGY, or just tons of wierd fuzz in the backround as well....like a big SHHHHHHHHHH over it all. and it was quite wishy washy - hence the flange effect that it sounded like.
however, either mic soloed sounded fine. its a combination of both that did it for me.
any ideas? how do i get this to just be VERY POWERFUL - without the flangy/wishywashy stuff in it? because i definately loved the power that it brought to the guitars.
my room is a big open basement. I have carpent on the floor (extra under the amp/cab). Carpent hung on the walls. About 10 feet back, facing the amp, i have a wall of couch coushin type material.... and thats basically it when it comes to guitar.
i'll take any suggestions on anything that you got, lol.
it is about 1-2 inches from the cloth....pointed off center to the cone...sounds very crisp and cruntchy - great with 2 tracks panned a bit with this setup.
then, i set up my MXL603s (condensor) to try multiple set-ups.
1 - about 5 feet back..pointed at the amp..away from the amp, high,, low, medium, everything.
2 - i then tried the same positions about 3 feet back
3 - then 2 feet
4 - and lastly pretty close to 1 foot, perhaps a bit more.
no matter where i put it, when i recorded tracks with both mics on - it sounded somewhat FLANGY, or just tons of wierd fuzz in the backround as well....like a big SHHHHHHHHHH over it all. and it was quite wishy washy - hence the flange effect that it sounded like.
however, either mic soloed sounded fine. its a combination of both that did it for me.
any ideas? how do i get this to just be VERY POWERFUL - without the flangy/wishywashy stuff in it? because i definately loved the power that it brought to the guitars.
my room is a big open basement. I have carpent on the floor (extra under the amp/cab). Carpent hung on the walls. About 10 feet back, facing the amp, i have a wall of couch coushin type material.... and thats basically it when it comes to guitar.
i'll take any suggestions on anything that you got, lol.
its not obvious in monitors, very obvious in the recording...no matter how i pan it - even all dead center...i can hear it. haha
that IS what i ended up doing last session - screw the far mic.
however, if it is true that it can sound SOOO much more thick and powerful with that extra mic, i'd also love to make it work.
as of now, i end up recording 4-8 tracks of guitar per song (if distorted...). i record on a few different tone settings, 2 of each, and pan them opposite of eachother...sometimes mix it up if it sounds more realistic. just depends. i get a nice sound, but its no weezer guitar...haha
i'm usin the DS-1 for a lot of dist. guitar recording.
that IS what i ended up doing last session - screw the far mic.
however, if it is true that it can sound SOOO much more thick and powerful with that extra mic, i'd also love to make it work.
as of now, i end up recording 4-8 tracks of guitar per song (if distorted...). i record on a few different tone settings, 2 of each, and pan them opposite of eachother...sometimes mix it up if it sounds more realistic. just depends. i get a nice sound, but its no weezer guitar...haha
i'm usin the DS-1 for a lot of dist. guitar recording.
pipelineaudio
Well-known member
shackrock, if you go back to the previous page of this same thread theres an EXACT way to find the correct in phase position in painstaking detail. And I mean EXACTLTY the problem youre talking about