anomaly
Well-known member
I disagree.
A good amp should record well.
- Thread starter anomaly
- Start date
LPMojoGL
Well-known member
Which amp doesnt record well? Most difficult time I had was a Dual Rec. Took a lot of experimenting to capture what I heard in the room.
I knew a guy that feels that way about fuzz pedals. Could't make em sound good.
He expected to plug into a low volume, clean amp and sound like Gilmour or Hendrix.
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DanTravis62
Well-known member
I agree about recorded sound being important, but honestly, MOST gigs at bars and small clubs don't mic the guitar
GJgo
Well-known member
That example was a long time ago & I was just going for the edge of a cap & cone. I've learned a lot since then with regards to mic placement, now in addition to testing all 4 speakers I map it / test & tune in 1/8" increments to dial it in & it's working much better.
What would be even better if I built an isolation box & actually used studio monitors to dial in the tone in real-time, I think that will be required to get to the next level. Shit starts to become a lot of work, though.
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Banned by IK Multmedia
Member
There was an other thread about the sound in the room does not matter, i always thought it was common sense?
I agree all amps record well, they record exactly how they are in the mic placement position. DI will always record exactly the same.
What matters is the amp in the mix. Some amps that sound great may end with a thin sound similar to a synthesizer after an actual full band mix with vocals.
I agree all amps record well, they record exactly how they are in the mic placement position. DI will always record exactly the same.
What matters is the amp in the mix. Some amps that sound great may end with a thin sound similar to a synthesizer after an actual full band mix with vocals.
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Greazygeo
Well-known member
Amps with too much low end never work for me. The Recto I have the bass knob is off. My live settings and recorded settings are the same, never even have to change them from room to room either. Took many years to that point.
Recording I am alwasy ising two mics on two different speakers. Doing this I have found mic placement isnt that critical as long as they are in phase.
Amps I can’t make work are little ones, they just always suck.
Recording I am alwasy ising two mics on two different speakers. Doing this I have found mic placement isnt that critical as long as they are in phase.
Amps I can’t make work are little ones, they just always suck.
Bram576
Well-known member
Good Studio monitors, with good placement REALLY help you dial your tone in man. Seriously opened my eyes so much when I started going down the recording rabbit hole years ago. It is an absolute pain in the ass though. And it literally is like starting from square one relearning.
Rex Rocker
Well-known member
I think that's too extreme of an approach. It depends on what Recto you're using as well, but some people just like to dial in tones safely and go for the no bass on guitars approach. Like Lamb of God, LOL.
I don't think that's wrong. But there's also ways around that. Tight pickups like Fishmans/EMG's, boosts that cut low-end before it hits the input stage, V30's and Recto cabs which have the low-end placed right. I actually think it's a common misconception that the Recto cab is the bassiest cab around. It's actually much tighter than the Traditional or most Marshall cabs, IME. I've never had problem with keeping the Recto's bass knobs just below noon. Of course, it's VERY easy to go overboard with those as well.
Plus you can resort to multiband compession in the mix if you need to. I feel that heavy mixes need A LOT of tayloring in the low-end to get the guitars' palm-mutes, bass, and kick to work together anyway.
And about two mics, yeah. That works, but I prefer the one mic approach myself. I prefer the direct in-your-face sounding mids of a single SM57. Even when you get the mics as in phase as you can (which is never 100%), I always hear something weird going on in the mids. Or at least something that I don't like for my own stuff. JMO.
I like taking a minimal approach myself. The less stuff I have to tweak, the less chance for me to screw up the tone.
Of course, we all like different sounds. If that works for you, then alright!
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’record well’ is such a broad term when most studios eq guitars pretty significantly to sit within the context of a band. Mic placement, speaker type, mic type, preamp quality all contribute.
I use iems for every gig and I play small pubs all the time. I do the to protect my hearing and it also helps me play and sing as I can actually hear myself. Obvs this means I mic up at every gig and Even at small gigs I’ll have some amp going through the pa just to give some width. The big drawback from iems is that you introduce even more variables to your setup and speaker choice and mic positioning become a big part of the experience. It also means that when I try amps I can’t trust what I’m hearing in the room because I know that’s not how it will sound when I get a mic in front of it. Then there’s the question of setting it up for the pa and how does it sound out front versus how it sounds in my iems to which I eventually gave up caring, as long as the sound in my head is what I want then that’s fine for me. Tricky subject but it really does make you question what you’re actually hearing when you listen to an amp in a room.
I use iems for every gig and I play small pubs all the time. I do the to protect my hearing and it also helps me play and sing as I can actually hear myself. Obvs this means I mic up at every gig and Even at small gigs I’ll have some amp going through the pa just to give some width. The big drawback from iems is that you introduce even more variables to your setup and speaker choice and mic positioning become a big part of the experience. It also means that when I try amps I can’t trust what I’m hearing in the room because I know that’s not how it will sound when I get a mic in front of it. Then there’s the question of setting it up for the pa and how does it sound out front versus how it sounds in my iems to which I eventually gave up caring, as long as the sound in my head is what I want then that’s fine for me. Tricky subject but it really does make you question what you’re actually hearing when you listen to an amp in a room.
Greazygeo
Well-known member
It works for this Recto, it's a Triple no idea on what year, revision etc. Normally I use the OS cab with it, mixing a new V30 and Redback. The Redback has lows and highs with very little midrange and the V30 has no lows or highs so it mixes well. If I could pull even more lows out of it would be better, but at zero it is useable for me. I just play basic rock and fusion so that has some to do with it. Even the old Marshalls and my Wizard the bass is low, just how I roll. haha....
I just look for a pretty even sounding base tone. In mixing there is something to work with down the line is my thinking.
skoora
Well-known member
The one circuit where I us usually get a great recorded tone while getting a great in the room sound is 1959 or 1987 Marshall. Getting the great sound in the room is usually diming the mid, treble and presence, maybe presence backed off a little, volume and bass to taste for level of rock. This translates to recording for me as well. Recto’s….my T-Verb records pretty well but an EQ in the loop with a slight bump around 1-2 KHz gets it to sit very easily. The big bass on Modern doesn’t capture that well on a mic and for me it’s just a fun, in the room affect.