What do you guys think of this heavy guitar tone?

[johnjm22]

http://www.chrysalismusic.net/Outspoken.mp3

This is a Marshall JMP-1, mixed in with a Mesa Boogie Single Recto.

Tell me what you guys think. I'm not sure if it's a good tone or not.

[gomp]

I like it! It's rocking.
Wondering though if there is already a bass playing in the song. If so it's difficult to hear, if not you could be in trouble when mixing it together with the guitars.
Good luck, Gomp

[johnjm22]

No, theres no bass yet it's just guitar.

[Riad]

I like the sound, what mics did you use?

[johnjm22]

Originally posted by Riad
I like the sound, what mics did you use?

Two SM57's. One pointed straight at the center, and the other more twords the outer edge at a slight angle. Overdubbed four times.

[Riad]

Cool, thanks. I've been using my tlm-103 and either a 57 or a 421 lately.

[johnjm22]

Originally posted by Riad
Cool, thanks. I've been using my tlm-103 and either a 57 or a 421 lately.

Are you using the 103 on heavy guitar? How does it sound?

I've been wanting to record heavy guitar with a Large diaphram condensor, but I can't because I record in my living room. When ever I try to use a LDC it picks up too much other crap like cars going by on the street, my leaking faucet, my roomate walking by ect.

[Nerve Nickels]

What tone ?

[Riad]

Originally posted by johnjm22
Are you using the 103 on heavy guitar? How does it sound?

I've been wanting to record heavy guitar with a Large diaphram condensor, but I can't because I record in my living room. When ever I try to use a LDC it picks up too much other crap like cars going by on the street, my leaking faucet, my roomate walking by ect.

I've used it on both clean guitar and very distorted "Incubus type" guitar, I like the way it sounds on both.

I really like how the 103 picks up more of the mids/highs the 421 will give more bottom end... I put the 103 closer to the center of the cone where the highs will be more predominate and the 421/57 close to the edge making sure that both are the same distance from the front grill, about 2-3".

[johnjm22]

Originally posted by Nerve Nickels
What tone ?

The guitar tone.

[everybody's x]

I like it alot!!

[Jason Poulin]

Good job!

I love rectos : ))

Jason

[picksail]

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 level 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.

They work very well blended together...and is the initial intention anyway.

Just thought I'd share. I went down today to take some recall photos before tomorrows session when I will again use this set-up. Of course, the humidity is now a bit lower, but what do you do?

I'd be more than happy to post a sample of this technique if anyone is interested, but I don't want to hijack your thread.

Here's a shot:

[johnjm22]

picksail,

Sounds interesting. Please post a sample.

[picksail]

Let me cut a peice of the song for you guys to sample. Look for it later in the evening.

Thanks

[Atari]

yes, please post a sample!

just wanted to use this icon.. need to grow up

[everybody's x]

I'd like to hear it too

[picksail]

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.}

[picksail]

Boy, I guess I have successfully hi-jacked this thread.

As an aside, regarding the aformentioned GTR set-up I decided to alter it a bit. With the 103 I changed the compressor to the ADL1000. This helped out a little on some of the grit imparted from the mic and really tapered the tail of the note significantly-the ADL clamped down and spit it out very quickly. No more than 1.5 to 2 db of gain reduction was ever applied. When I get a free moment I'll offer up another sample. This one has approximately 31 guitar tracks in the chorus section with a healthy amount of background and harmonized vocals.



I was using this newly modified set-up on another song from the same artist and my studio partner stopped in during the tracking to take a listen. He was in utter disbelief that this set-up would work so well. He stepped over to the Vintech and flipped the phase-none to speak of. Although, I did opt to slide the tracks (13ms on the 103) a bit until they opended up and sounded the way I wanted.

Anyway, just thought I'd share. Thanks for listening.