The recording doesn't seem to have a problem other than aesthetic. Doesn't sound like you're doing something wrong, just inadvertently doing something else.
So here's what I could advise: Every part of the chain influences your sound, from the amp, through the mic, and up to the actualy recording chain. So what you want to do is to narrow down the options. Start by setting your microphone right in front of the center of the cab's speaker, about half an inch from the grill. For the rest of the session, do not move this mic. Next, set up your desired tone. If you have the option of setting your amp head next to you in the control room, while standing in front of the studio monitors you are using, while the cab itself is in a different and enclosed room, simply fiddle around with your amp until you get the sound you want. If you don't enjoy that luxury, just set up your tone the way it sounds best to you while standing next to the amp (also try to listen to the amp from the same height as your mic), and record a small chunk. Repeat until you get the desired sound, but in both cases, DON'T MOVE THE MIC, AND DON'T ADD A SECOND MIC.
If you don't have a lot of recording experience, I'd advise you to forget everything you know about how you usually set up your amp, and start from scratch. Your go-to settings might work for you in the bedroom or for practice, but it doesn't mean it's gonna sound good in a recorded context. It might need to be painfully loud, or you might find yourself diming the EQ controls this way or that.
Next, gain staging. Here it gets a bit tricky. Turn your preamp gain up until you can just hear the cab's static noise. Play a bit, and listen to the signal to noise ratio, while paying attention to your channel meter in whatever recording medium you are using. How loud is your guitar compared to the ambience noise that the mic is picking up? How high are you on the meter? Assuming you record to a DAW, you really don't have to use up a lot of the meter. A nice, healthy, 1/2 to 2/3 of the meter is just fine. The rest of the unused meter space is your recording headroom.
Tweak back and forth the amp's volume in context with the mic preamp's gain, but DO NOT MOVE YOUR CHANNEL'S OUTPUT FADER/KNOB. Make sure that whatever changes you are doing to your amp or preamp, they are in context for volume with other instruments! Play along with your other tracks for what it is you are about to record. Are you coming out in the mix the way you want? Adjust the amp/preamp accordingly.
Once you've exhausted all experimentations with this method, try substituting single parts of the equation, and study the difference. Try a different mic, different mic position, a different cab, amp, whatever, but just make sure that you are only changing 1 part.
Last note: the equipment, unless plainly faulty, is almost never the problem. It might not be to your taste, but guitar amps are really no more intelligent than a toaster. If it's burning your toast, it's because you set it wrong, and if it can't make you an omelette, maybe you should try a frying pan.
What you need are two 1/4" TRS BALANCED cables (as opposed to 1/4" TS UNBALANCED), and as mentioned, a set of powered monitors, as opposed to passive ones (which require an additional amplifier).
Not really sure about the terminology in english, but here goes:
The difference between balanced and unbalanced cables is that balanced cables run an audio signal on 3 lines: positive, negative, and ground, usually connected in that order to the connectors Tip, Ring, and Sleeve (TRS), all visually seperated by plastic rings on the outside of the connector. 2 rings/3 sections = TRS (unless someone mucked about heh). Ground is only there to act as, well, electrical grounding, but the other 2 lines contribute to a stronger and cleaner signal.
Most musical instruments use unbalanced outputs, which mean they only use 2 lines: positive and ground, usually connected to the Tip and Sleeve (TS), and again visually distinguished by having a single plastic ring on the connector's exterior. Unbalanced connectors can NEVER be balanced connectors, simply because they can't accomodate the extra conductor.
Studio gear that uses 1/4" jacks will usually need balanced connections. There's no danger to your equipment in using one or the other, but it won't operate as well as it can (especially when connecting balanced lines without unbalanced cables).
The melody defines a pop song more than any other element. The emphasis is on creating an effective, immediate response, with extremely high replay value. The rest of the production acts as a backdrop to whatever instrument (including vocals) is the most integral to that mission.
Having said that, a live version of that product doesn't really entail the song itself to be anything other than it already is. Most pop artists simply don't need a live version, because everybody came to hear the song they know from the radio, no frills added. So yeah, not very impressive. That doesn't take away from the performers' actual ability. Not everybody can carry a hit song.
Actually, when I think of well produced songs, I usually think of pop.
Like I'll be listening to a Taylor Swift song and I'll be like ... they produced the shit out this, this shit sounds really good. Whereas if I heard her singing in a bar with a guitar I'm sure it would sound like ... shit.
Basically, the more musical 'talent' someone has, the less production they need. Jazz albums live. Amazing.
So, raw roots type metal/rock/blues, I don't really pay attention the production unless it's bad. I pay more attention to the guitar playing and songwriting. This is only my thinking/opinion though, nothing more.
So, that said...
Taylor Swift. Her production team is really, really good.
That's an unfair generlization. Expansive production is an artistic choice (on the artist's side or the producer's side) more often than a cover-up. Radiohead, Led Zeppelin, The Beatles, David Bowie, Queens of The Stone Age, PJ Harvey, Tori Amos, Steven Wilson, Opeth, Tool, Nine Inch Nails, Frank Zappa, these are all artists that decidedly utilized the recording studio as a creative instrument and consistently put out canonical albums, some of them considered crossover benchmarks in terms of influence and creativity.
On the other side, artists like Nirvana, Rage Against The Machine, James Brown, Stevie Wonder, Johnny Cash, Tom Waits, Neil Young, AC/DC, Guns n' Roses, Steely Dan, Pantera and Nick Cave often stress through their works that good production doesn't necessarily entail fancy tape tricks or exotic sound effects. Good production can also mean an accurate and technically meticulous documentation. RATM's debut album was proudly recorded with only guitar, bass, drums and vocals, without any outside instruments. Nirvana's Nevermind has 1 additional instrument to their existing ensamble, and the songs are all very similar in structure, attitude, arrangement, and so on. Both albums are staples of studio production of the highest order.
And Taylor Swift, while not my cup of tea, is quite clearly a vocal powerhouse in her own right.
TheClown Never got around to try the mk41 personally, but the sm81 is a fantastic mic. It's an SDC (small diaphragm condenser, as opposed to the 414 which is a large diaphragm condenser, aka LDC), which for amps and vocals isn't the ideal choice, but it could work. It's very nice for acoustic instruments, thought.
That actually sounds quite interesting, I just might try putting an sm81 on an amp myself. I'll report back if I get around to do it.
Most Steve Albini-recorded albums I've heard in my life have really stuck with me. Same goes for Flood, Alan Moulder, Joe Barresi and Jack Endino. Some notable examples:
Albini: Neurosis - The Eye of Every Storm Gogol Bordello - Gypsy Punks
Flood: PJ Harvey - To Bring You My Love Nine Inch Nails - The Downward Spiral (also co-produced with Reznor)
Moulder: Them Crooked Vultures - S/T Saul Williams - The Inevitable Rise of Niggy Tardust
Moulder and Flood both have quite a bit of joint ventures, mainly Smashing Pumpkins' Mellon Collie and The Infinite Sadness, which is widely praised for its production value (not my cup of tea).
Barresi: QOTSA - Lullabies to Paralyze (also produced) Kyuss - Welcome to Sky Valley
Endino: High on Fire - Death is This Communion (also produced) Kultur Shock - Kultura Diktatura (only recorded)
Other notable mentions: Tom Waits - Rain Dogs Mark Lanegan - Bubblegum Marc Ribot's Ceramic Dog - Your Turn Lykke Li - Wounded Rhymes Manu Chao - Clandestino Portishead - Dummy Massive Attack - Mezzanine Lovage - Music to Make Love to Your Old Lady By PJ Harvey - Stories from The City, Stories from The Sea Prince - 3121 Brant Bjork - Jalamanta (best wah-guitar sound ever right here!) St. Vincent - S/T Clutch - Blast Tyrant Butthole Surfers - Independant Worm Saloon
Might as well get a condenser if you already have a 57, especially since you mentioned it would be nice to use it for other stuff as well. I'd recommend you look into LDCs, as they would compliment a punchy mic like a 57, and suitable for most other recording uses.
My regular amp recording setup is a 57 and an AKG 414. I find they compliment each other really well, the 57 giving me punch and the main body of sound, and the 414 adding size/depth/"air". The 414 is a classic workhorse mic, you can pretty much use it on anything and get away with it.
Just make sure that the mics' membranes are the same distance from the amp's speakers, so you won't get any weird phasing.
You're perfectly fine using 1 mic, and a good ol' Shure SM57 will do wonderfully. Go right ahead and add a mic if you have one, but I'd advise getting to know what you can do with just 1 mic before adding more variables.
As far as placement, the center of the speaker is a good starting point for your mic position. You might get some cooky stuff from pointing the mic in between the speakers, and you might be into that, but it usually just comes out unfocused and lifeless.
Here's a nice trick from a book called Mixing with Your Mind. It might give some insight:
Plug your guitar to the amp, and tweak it to sound the way you'd like. Keep your guitar plugged in and unmuted, set it aside, and grab your mic and a pair of headphones. Send your recording channel output to your headphones, and turn up the volume until you can hear the amp's static noise loud and clear in your headphones. Move the mic around the amp's speakers, until you find a nice spot of static. One which you feel has the right color, tonal balance, and gives you that cozy tingly feeling at the back of your spine. Mark it, set the mic there, and give it a listen. Repeat until desired sound is found.
2. That's what it actually sounds like. The problem is you are all of the sudden faced with what a wooden board with some metal strings on it actually sounds like, without the very robust tube amp circuitry to color, compress, distort, and finally amplify, which in itself is a mechanical/physical/kinetic phenomenon which is heavily affected by the immediate environment and your own ears. In an amp sim's case, you get a DI, preamp, and a binary code which attempts to re-enact all of the above.
3. Guitar amps can certainly can go above 10kHZ in their frequency response, but not that much higher, and not without repercussions. That sound distorts, and gets additional harmonies, and the higher ones are often soaked with additional harmonies from the amp itself. You get none of those through an amp sim, and the usually harmless information that would either get swallowed by your beefy guitar tone or just distorted beyond recognition, is represented at its most truest, hi-fiest form. Which is really ugly. Come on, it's metal strings being slapped against a metal fret without any resonating parts. Does the act of cutting steel beams sound musical to you?
4. Further exasperating this issue is the harmonic qualities (or lack thereof) of digital clipping. Again, what has until now distorted and became new harmonies through your amp, is now boldly represented in your DAW, and anytime something distorts, it doesn't saturate a tube or even a transistor, it just clips digitally, which sounds unappealing.
I could also go into marketing and who the target of these products is, but whatever.
I wouldn't really say that, just that their character isn't "shiny". Never recorded a guitar through a decent DI that felt like it doesn't have enough upper end definition. Things do get a bit funky when you try to reamp into a high-gain amp, but I never tried a setup like yours.
BSS tend to be a bit more old school in character, more of that mid range punch and less emphasis on shiny highs. Radials are more what you'd expect from a DI, as in transparency. Radials tend to be quieter, from what I remember (as in less prone to outside electrical interference).
Don't throw your Behringer away, they are the industry standard for angling combo amps or monitors on stage. No idea why they put those input jacks on them...
BSS stuff is ok, but if anything, go with the AR-116. Sounds good, durable, has the same attenuation options you mentioned, and a battery option. It seems they are out of production (never knew that), but you can grab one for 60 bucks on reverb.com, so probably won't cost much more or less on ebay.
Honestly? For a home setup, it doesn't really matter. Might as well get an active one, if they're the same price. Might come in handy down the line.
The difference in overall quality between Radial DI's and Behringer DI's is huge, and I can't think of a single instance, wether in a professional studio, a home studio, or live show, where I needed more than a 15dB attenuation (which for guitar, is already A LOT).
Reamping the same take into different amps and layering those to get different colors is a nice idea, but do take the time to record another take for any parts that are going to be in stereo. The more difference in information between the left and the right side, the wider your stereo will be, and even the most consistent players in the world don't record the exact same take twice.
As for reamping, if you've ever tried hooking your iPhone to an aux port in your car, this is exactly what you're doing when you reamp a track. You don't need ANY specialized box, so long as you can enter the amp at a reasonable volume. Assuming your tracks are recorded in 24 bit depth, you have a whopping 64dB of headroom before you reach CD quality dynamic range, so don't be afraid to turn that fader down a bit. Guitar amps usually accept unbalanced connections, so make sure you are coming out an unbalanced output. A DI on the way would be helpful to eliminate any added noise the cable might pick up, but again not a necessity.
Maromasqu For snares, I would much rather have an SM7. Beyer 201 works just as well as a 57 (with less of that annoying midrange 57's carry), but as far as an overall mic, I agree that the 57 is extremely versatile.
I remember positioning a Fathead about 5cm from a cleanish-overdriven amp quite a few times, it handles it fairly well. Would'nt use it on an acoustic though, it's just not really nice, for my ears.
What I do with the 414 is use it just for "extra-sound". I found out that I like it best when I mix it in -just- when I start to hear the overall body get bigger. Of course, correct phasing is key here. The dyn mic would always be far more pominent in the mix, and whenever I solo the 414, I get really surprised how low the mic actually is, but when I pull it out of the mix, the guitars just get sadder.
Yeah, 87's are fantastic. They're the LDC equivalent of a 57, they'll work just as good on pretty much everything. I work at a pretty big studio in my country, so I'm lucky to have access to really expensive shit. We had an original C12 kicking around for a while. How AKG turned that into a 414 is beyond me.
For high gain tightness, I've yet to find something that can truly replace a good ol' SM57. I would usually add a second condenser mic to add some overall body. ULS and EB version of a 414 are great, but the newer XLS ones tend to be thinner. MD421 with a Beyer 160 ribbon also works nice, but my absolute favorite combo is a Royer 101 with a Neumann 87. Big, fat, chunky, and great detail.
How do you mean? What kind of absorbers? 2 inch thick foam panels on walls? Or thicker? Are we talking about broadband absorbers or something else? Thanks!
2 inch thick foam panels (should by fairly high density, can't help you much with specs in this area, consult google over acoustic foam properties) spaced between 5 to 15 cm (about 2" to 6") from your wall. The size and number of panels depends on the size of your room, but you can't have too much absorption. It's a fairly simple build too, you just need a frame for it and hangers which will allow that space between the wall and the panel. I don't have a specific tutorial, but any local carpenter will be able to help you with this.
Might as well keep those foam corners, they might not do much but they don't hurt.
I'd say try removing any added compressors and EQs from your recording chain, and listen to what's happening with your basic signal. You might be killing an otherwise healthy guitar sound.
Secondly, 20" and angled back a little bit will accentuate the treble response of your instrument. Try moving a little bit closer, and face the guitar itself. Remember to adjust your gain accordingly.
From experience, it's hard to say it and even harder to hear it, but it could very well be your technique. While you play, you are experiencing a highly biased form of your sound, what with your guitar sitting in your lap and your head right above the body. You might not be aware of problems in your playing that are now being brought to forefront by the mic. Try different picking techniques, different guitars, monitor the problem.
Are there any actually good Metal documentaries or are they all garbage?
The reality is that the metal scene doesn't have a lot of very interesting people who want to talk about metal, let alone give a fresh prespective on it, and those who are interesting are usually just too far out in the fringes.
The music is just bigger than the people making it.
Ah well, my regards to any of you sad worms that might fall upon this message. I'll drop by again next time I think to myself "Remember how much time you used to spend on the fvcking internet, and it wasn't even porn?".
Much obliged, amigo, but ain't got nothing to worry about. If shit was serious, I wouldn't have been able to write anything here.
The real problem is the civil war ya'll are probably hearing nothing about. Leftists and rightists are literally fighting in the streets. That's the scary part, really. It's amazing what fear can do to some people. People I absolutely love are suddenly speaking in terms that as a jewish people, you have a very particular history with. This is actually something that a lot of conversation in this forum directly relates to. It really underscores the loyalty some of your kin have for you and yours, and by the same hand, frightening to think that you are just an inch away from being on the opposite side of the fence as far as they are considered, and that same loyalty will erase any doubt from their mind that you are the enemy as well.
The bottom line is that right now, more than the bombs, more than the suicide terrorists, more than the armed infiltrators, the most frightening thing that you can do, is voice an honest opinion. This is real terrorism.
It's been quite a while since there were any suicide bombers in buses (thank god, shit ain't funny not 1 bit), and car bombings are for the Irish.
And most fighting right now is long-range artillery, so all you might catch is an Iron Dome interception in the sky. There's a video of 5 or so Hamas infiltrators getting gunned and bombed down on a beach, about 30 minutes from my kibbutz.
Not Tel Aviv. Or West Bank. Rather, she is being carted around like a tourist to go see the various touristy sites like that wall with all the prayers and that sort of stuff. Also that one city that was conquered by determined Romans who built a seige engine of giant stairs. Sorry that I don't know the names, I tend to zone out when she goes on about it. You lot are almost as bad as the French, what with being enslaved throughout the duration of human history.
Haha, that's Jerusalem's Wailing Wall and either Caeserea or Masada. And at least we shower.
Quote by VGF
No joke, one of my first thoughts when this conflict escalated was "I wonder what Deady is up to?"
Oh snookums, that's mighty nice of you. My kibbutz is actually within visual range from Gaza. Most clear nights, you can watch the fireworks in the horizon.
The missiles have larger warheads and greater range, but none more accurate. Indeed, there hasn't been a single jewish death since this operation began, and injuries have been fairly light. Even the property damage isn't so bad.
That's not to say that they aren't trying. Hamas is firing A LOT. More than anything, it means that there are a lot of alarms and noise, but keeping cool is key.
I feel like if you sodomized this "house owning" individual, by ancient rites the dwelling passes ownership to the deceased feesh no?
Also long time Deady
The thought has passed through my mind, but he seems to be of value. He persists with questions regarding my well-being, and if there is anything around the house needed to be taken care of. He laughed when I raised the subject of my personal quarters needing a daily rinse, and he looked quite puzzled when I mentioned that of all the harems I have visited, this one is by far the most lacking in wenches, but he seems to otherwise be a decent human being. Nevertheless, I shall stay vigilant.
Neil Young just cancelled, what with the fvcking war going on around here. Given reason is that such a large gathering of people is unsafe, rather than the usual psuedo-political "ban Israel" bullshit. Roger Waters must be elated, the old cvnt.
Alas, I grew my hide thicker in order to withstand direct sunlight, and after redesigning and welder's visor to look more like standard sunglasses, I braved the outside world, and am growing accustomed to it. A truly peculiar and perplexing environment. I have been accepted into their society, and partake in some of their bizarre rituals, such as 'paying rent', a practice which includes paying a person for the permission to live in a house that he metaphysically owns by rite of pen and paper alone. How odd.
Quote by Kepulix
You what? I'm so glad I got to see Neil Young last year. I thought I'd never get the chance.
Also saw Gogol Bordello a few months ago for the second time. It was fun as hell yet again.
Going to miss him, don't got enough money and way too much academic and real-life work.
Experienced that BGE thing not too long ago. Should investigate deeper.
Over the last couple of months, I have missed the opportunity to see live Gogol Bordello (twice), Soundgarden, Pixies, The Hives, The Rolling Stones (!), The Prodigy, and am going to miss Neil Young. But I did see Manowar. And it was awesome.
24, lurking since I was 15-16, posting regularly since I was 17-18 or so. In retrospect, this place contributed a lot to my taste in music, or to be precise, individual people here who turned me on to all sorts of stuff. Currently finishing 3 years of studying sound engineering.