| Sorry for the delay. I ventured down to the studio this evening to discover that there was an impromtu tracking session for some movie going on. So I returned home and tried to cut this sample in SparkXL....arghhhh!!!!!!!
Alrighty. Here's the sample I promised. This is from a local indie band called No Sleep. The guitar parts were orginally written to be performed with open chords, so I 'rewrote' them and to the band members I expressed my reasons why, 'With the song in it's current state, it reminds me of a limp d**k... no life, no excitement and no real pay off.'
Unfortunately, the guitarist in the band was incapable of performing the parts (seriously...dead simple parts) so I elected to cut them myself. I'll keep my opinions to myself, anyway...
This tune is about 95% mixed. I'll probably pan them a bit differently and loosen up on the delay a bit. The guitars are up 1.5 db above normal for the sake of hearing them in the sample.
I only HighPassed (92Hz) the guitars in the verses. No processing at all was applied to the choruses, i.e. EQ, compression, etc. So the way you hear them is exactly how they went down.
This is really nothing more than a mere example of "getting it right at the source" and to emphasize this point.
In reality, no one but us audio slutz really cares about this sort of thing. This is just an erronoeous mic combination that I stumbled upon which I discovered works very well in a heavy/punk rock context.
(Copied from former post on pp.1 so that you don't have to return to the previous page)
{I have recently discovered a really amazing combination of mics for tracking overdriven guitar amps with 4x12 cabinets.
TLM 103- 12" to 15" away from direct center of speaker.
D112- pointed at the middle of the outer edge off speaker cone about 1" to 3" out (depending on the SPL at close proximity).
The 103 provides a lot of necessary information around 2k to 3.5 k and is very intense down to around 750Hz.
The D112 offers nice detail in the low end and upper mid-range. This mic, really, captures all that great percussive, close proximity information (you know, when it sounds like, at any moment, the strings are gonna snap right off the guitar) that you would want from a killer guitar sound. I've never really experienced great results with an SM7 and this was just an arbitrary alternative.
The D112 was sent to an API 312 followed by a Distressor at 3:1, Med attack and quick release. Hi Pass, Dist3, Stereo Link engaged...little attenuation.
The 103 was sent to a 1272 followed, as well, by another Distressor at 4:1, faster attack and quick release, Hi Pass, Dist3, Stereo Link engaged...no more then 2db attenuation.
These were then sent to the 192s into ProTools at 96/24.
No Eq was used during the tracking and only during the mix did I roll the guitars off at 92Hz to allow the bass guitar to be revealed. Albeit, I enjoyed the low end (on the guitars) between 50 - 80 Hz, but the bass guitar had to be prevelent. I was still able to preserve a good bit of the beefiness in the low end, anyway.
Paradoxically, this application is the best I have found for either of these mics. I guess I prefer to approach guitar tracking similar to that off a kick drum...does this make sense?
It also, helps if you arrive early to a session just to allow the tubes in the amp to warm up for several hours before tracking.} |