#1
Do someone experienced have any tips on how to get best possible sound from a high gain tone, like metallica ?

ive got a shure 57 mic into a inteface to record
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#2
When recording the rhythms, don't use as much gain as you usually do. Use just enough to give it some chunk. Then when you're done with that track, make another and record the same part again. This is called Layering and can make a rhythm sound absolutely massive.
#3
Quote by mogar
When recording the rhythms, don't use as much gain as you usually do. Use just enough to give it some chunk. Then when you're done with that track, make another and record the same part again. This is called Layering and can make a rhythm sound absolutely massive.


so would it be alrite to just double the track up (copy the recorded sample and paste it into a new track) instead of having to record it again?
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#4
Quote by CLaSH88
so would it be alrite to just double the track up (copy the recorded sample and paste it into a new track) instead of having to record it again?



Forgot to mention that it'd be good to change up the amp/guitar for the second take. Or at least change up the eq.

For example, go to my profile and listen to my "AMT DT-2 Tone Examples" mp3. Especially the first 1:15. It'll have the first guitar play the rhythm, then the second guitar (with a different tone) will play the same rhythm. Then after you hear the difference, they both play the rhythm at the same time and it sounds like a wall of awesome coming at you . Anyway, thats just one example of layering.
#5
Quote by CLaSH88
so would it be alrite to just double the track up (copy the recorded sample and paste it into a new track) instead of having to record it again?



If you do that, it won't really sound any 'bigger', just increase the volume if that makes any sense. As mogar says, it's best to use different EQ, or even better, record it again.

You should definitely turn down the gain though. As a general rule of thumb, you should use a good amount less gain when recording than when you practice or play live. You'll find you get a better recorded sound.
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#6
sounds like crap if the timing aint perfect in both takes ^^

and im not good enough to get perfect timing each time so im just gonan record once and duplicate the track and put on pan right and the other left, sounds good enough
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Last edited by Jaekae at Jun 2, 2008,
#7
^It does, you're right. In that case, at least EQ them differently.
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#8
ye i did eq different in the recording program, have a sample in my profile of some random slow powerchords if you wanna see how it sounded
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#9
That's not bad. You could try using a little compression to beef it up a bit.
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#10
ah cool it sounded better with compression on also
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Last edited by Jaekae at Jun 2, 2008,
#12
Also check out this video.

http://www.imperialmastering.com/guitartonevid/

It's long but it has some good advice on micing techniques,

DS
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#13
As hard as it might be to believe, having 2 takes that aren't exact duplicates will do MUCH more to fatten, thicken, and smooth your tone than having 2 nearly identical takes on the same amp/guitar. It's the differences in the sound that makes it sound better.

Another good way to get good, hi-gain results without doing multiple takes per side/part, is use multiple microphones. I like to use 2 Sm57s, 1 large diaphragm condenser, and 1 ribbon. The hardest part with this method is getting them all in phase which isnt too tricky. Just make sure all the mics are at multiplicities of 3 distance wise from the speaker. For example, put both Sm57s at 2" off the grill, put the ribbon 6" off the grill, and the LDC 12" or 18" off.

Position the mics so you capture all essences of the tone. I like to put 1 Sm57 right on the cone, on axis, 2" off. place the 2nd Sm57 off axis with the cone, but on axis with the paper, near the outside edge. Once again, 2" off. Set the ribbon 6" off, on axis or barely off axis slightly closer to the cone than halfway between the cone and edge. Put the LDC 1" off the speaker, usually dead center or thereabouts. This is easier if you have a cab with multiple speakers such as a 4x12 or 2x12 as you aren't cramming all the mics on 1 speaker.

Record each mic to a different track in your DAW, pan and mix to taste for each part.

Assuming you have a good fundamental tone and room to record in, it's pretty much impossible to not get good results from such a setup =)
#14
You'll also have to correct all the phasing issues you get from the 4 different mics before you record.
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#15
The hardest part with this method is getting them all in phase which isnt too tricky. Just make sure all the mics are at multiplicities of 3 distance wise from the speaker. For example, put both Sm57s at 2" off the grill, put the ribbon 6" off the grill, and the LDC 12" or 18" off.


There will be minimal to no phasing issues assuming a steady multiple is kept.
#16
AH, reading comprehension minus one....

As long he's aware of that.
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