Warmth

[black aspirin]

It'd be nice if the initial poster would post an example of the work and also anyone else.

Okay, here goes. This place has its fair share of musical elitism, so I've avoided posting my stuff. Here are my disclaimers, ha.

1. I'm not a good musician. I'm a fan who is having fun recording his own stuff. I've got a long way to go to actually know what I'm doing.
2. These are riffs / ideas and not complete songs.
3. Everything I've recorded is to try ideas and work toward songs....there are plenty of mistakes and tons of repitition so I can re-listen and decide where to take them as songs.
4. Doom metal is SLOW AND REPETITIVE.

It's a drum machine, a bass guitar and an electric guitar. No vocals.

Ionosphere and Pinn are pretty recent. I'll post Pinn5, which I did last night (and am happier with). The first two lines of Pinn & Pinn 5 are guitar only (so you can hear it by itself)....the bass kicks in on the third line. Also, download it if you want to hear the bass better.

Be gentle!



http://www.soundclick.com/bands/pagemusic.cfm?bandID=562697

 

[Keiffer]

wow, is that Drop F

 

[black aspirin]

wow, is that Drop F

It's standard tuning, just down to A. I like the sound / chord shapes better in standard tuning as opposed to dropped.

 

[Keiffer]

that really has a loosey-goosey feel... pretty nice but the guitars seem mostly preamp gain distortion and lack body (power section). sounds like the strings are about to fall off the guitar. I believe I'd backup on the string size and work the amp's power section harder.

 

[TexRoadkill]

I sort-of agree but you've lost me. This thread is about micing for heavy guitar which normally implies close micing a guitar cab. I'm talking right up on the speaker. Therefore, Little to No room... Matter of fact, efforts are usually made to minimize room influence. Possibly, the only real interference would be room modes.

My experience is that it all matter's and yes 10 degrees or one 1 inch will make a huge difference. Not as it was stated above that it doesn't matter at all or even inferenced in yours. I am absolutely baffled by comments implying mic position doesn't matter. I can only take that one has little experience micing heavily distorted guitar.

It'd be nice if the initial poster would post an example of the work and also anyone else.

I've done a lot of pretty heavy stuff live and in the studio. I would never stick a 57 up against an amp and call it done for recording. Room mics are what you give you size and perspective and make the guitar sound 'Huge". If I can only use one mic it's going to be an LDC about three feet away and close to the floor.

My point isn't that mic position doesn't matter overall. It just doesn't matter that much for actual tone. Either the tone is killer or it isn't (within the context of the mix). Mic placement is just a matter of finding a spot that doesn't fuck it up and adds a bit of room ambience.

 

[cavedog101]

If you can get access to a couple of LDC's you'll have a better chance of getting that large area sound thats been mentioned.

As for placement of these mics one low and one high work well. The high one can even be where you're standing in the room and it sounds the best.

Quote from one session years back....

Eng: How does it sound to you where you're standing...?

Art: It sounds fricking great ...

Eng: Teddy! Put the mic right there...

Ted: But he's standing there...

Eng: Knock him the hell away and tell him to go play from the couch....

Art (at playback): DUDE! That ROCKS ASS!

Eng: Pay yer fukin bill moron........



Or sumthin like that.

 

[KamikazeKyle]

Try a 57 and an EV RE20 on different cones.

 

[chessrock]

I disagree. Mic choice and position play a significant role.

They play a significant role to the extent that you shouldn't use an obviously sucky mic (unless it's a 57), and you shouldn't do some brainless move like point it at the ceiling or something. Although I wouldn't put either past a lot of the people on this forum.

But overall, if mic choice and placement were such an intricate art form when mic'ing a guitar amp ... then a " '57 against the grille " wouldn't be the standard for rock & roll amp mic'ing for the last half-century the way has been.

.

 

[Phildo]

...But overall, if mic choice and placement were such an intricate art form when mic'ing a guitar amp ... then a " '57 against the grille " wouldn't be the standard for rock & roll amp mic'ing for the last half-century the way has been.

...talking of which, and only marginally O/T, I was doing the sound at an open air gig a couple months ago and the time came for a young blues band to play. As I usually do, I stuck a 57 in front of the speaker (I prefer them out towards the edge of the speaker to minimise harshness).

I went back to his amp a few minute later and noticed that the 57 was now pointing up to the speaker at an angle of about 40 degrees to the floor (when I'd left it, it was at 90, as usual).

I asked the guitarist about this, and he told me he'd changed it because he'd been told that that was the "proper" way to mic a speaker (ie with the mic theroretically perpendicular to the cone) by another local sound guy.

Now, I'm no expert - only a long-term dabbler, but this is something I just hadn't heard before, so I re-set the mic the way I like it and carried on.

Anybody of you guys heard of this approach?

 

[NL5]

I think you just need more compression/limiting!

Thanks to "Ionoshphere" I just found out my Ghost has a second red light on the meter.

 

[black aspirin]

I think you just need more compression/limiting!

Thanks to "Ionoshphere" I just found out my Ghost has a second red light on the meter.

I confess to having very little knowledge about what I'm trying to do.

Thanks for noticing!