2009/4/8 Ricus Vincente <wizardofgosz@xxxxxxxxx>
On Wed, 2009-04-08 at 18:24 +0200, Grammostola Rosea wrote:
OK, this is driving me crazy. I've been a professional audio engineer
for 15 years. Hang some mics in front of the amp. If you're micing a
4x12 listen to each cone and put the mic in front of the cone that
sounds best. Hand two mics on the two best cones and record to two
separate tracks if you want to get really crazy. Check phase and align
accordingly.
If you're recording distorted guitar there's little need to compress on
the way in because it's already super compressed. If you have something
really fat sounding like a Distressor or a Tube-Tech or something, and
you want to fatten the sound a bit more, fine.
I've had luck with almost EVERY mic I've ever used on guitars. U47,
U67, U87, 414, 4050, 421, KSM44, KSM27, M88. On general principle I
won't have a 57 on anything. Maybe it's stubbornness.
EQ your track so that it sounds good and stands out in your MIX. These
"cookie cutter" approaches of "do this" and "do that" have never worked
for me until I've heard the track in the context of the final mix.
If I've offended, tell me to go to hell. I'm OK with that. :-)
Best,
Rich...
ok, rock'n'roll style: go to hell ;-)
(serious) he said his equipment is: epiphone (not gibson les paul custom or a fender custom shop), a 30w orange amp (not a vox ac30 tube amp or marshall jcm), an m-audio preamp, a shure 57 (no neumann or any other condenser mic), no mixing console.
(humor) well, everyone knows a Ferrari is better than every other car all over the world but would you suggest to buy one to every people asking you an opinion about a ford or bmw?
cheers
ra
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