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Guitars in Hip Hop music
Old 11th August 2008
  #61
Gear Guru
 
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Quote:
Originally Posted by phillysoulman View Post
4 EMT playes and a fabulous live echo chamber 40 feet long,fifteen feet high, and about six feet wide with an Altec A7 on one end and an RCA 77 dx on the othere way up in the air.

Great stuff.


great stuff indeed, 4 EMTs AND a live chamber, thats sweet. love Joe Tarsia too, great engineer.
Old 11th August 2008
  #62
Gear Head
 
J*808's Avatar
 

Hey Guys,

Have read this post a few times now, it really is a master class on
Guitar/Studio recording! Thanks

I'd like to spice up the conversation slightly by talking about Guitar Rig if I
may?

To me it's becoming a very strong choice when I decide to lay down guitars. Partly due to it accessability and ease of use but not only that, it's power too. I'm the first to choose a real amp and good mics/room over software any day but it's amp sim and mic emulation are getting better and better.

Any one out there a regular rigger?

J*808 - Dublin, Ireland
Old 11th August 2008
  #63
Lives for gear
 
phillysoulman's Avatar
 

Quote:
Originally Posted by rickrock305 View Post
great stuff indeed, 4 EMTs AND a live chamber, thats sweet. love Joe Tarsia too, great engineer.
In 1981 studio 1 was totally remodeled and redisigned and as a result, sadly the live chamber was no more because the space became part of the new studio.
Imho, that chamber was integral part of the classic Philly sound.

FYI..Joe's son is a member of GS.
Old 11th August 2008
  #64
Gear Addict
 

Quote:
Originally Posted by phillysoulman View Post
... a fabulous live echo chamber 40 feet long,fifteen feet high, and about six feet wide with an Altec A7 on one end and an RCA 77 dx on the othere way up in the air.
hi philly,

how was this chamber used?

blended with source sounds to tape or used only as a send at mix time? or both?

and was it usual to change positions of the speaker and mic or was that fixed and part of
the studio identity?
Old 11th August 2008
  #65
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Quote:
Originally Posted by ninjaneer View Post
hi philly,

how was this chamber used?

blended with source sounds to tape or used only as a send at mix time? or both?

and was it usual to change positions of the speaker and mic or was that fixed and part of
the studio identity?
There was a reel of tape on the back wall with a vari speed device which would be fed to the live chamber to delay the signal.

If you listen to "Me And Mrs Jones" by Billy Paul, you can plainly hear this effect on nearly the entire song, includiing the hi hat.
I dont think that the relative position between the speaker and the mike in the chamber was changed much because once the sweet spot was found,that was it.

Also, the efx were added during the mix and just monitored during recording/playbeck,unless otherwise specified.
Old 12th August 2008
  #66
LR Baggs Para Acoustic D.I. from zZounds.com!

LR Baggs Para DI box

What's the advantage of using this, rather than DI directly into your preamp (in my case, a Chandler LTD-1)

Let's not argue about how "crappy" DI acoustic sounds. There's certain "sounds" you might want, and DI can be part of how to get them
Old 12th August 2008
  #67
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Quote:
Originally Posted by coyotekells View Post
LR Baggs Para Acoustic D.I. from zZounds.com!

LR Baggs Para DI box

What's the advantage of using this, rather than DI directly into your preamp (in my case, a Chandler LTD-1)

Let's not argue about how "crappy" DI acoustic sounds. There's certain "sounds" you might want, and DI can be part of how to get them
Ill reiterate that DI acoustic guitar sounds crappy.
You lose the "air" and the space around the guitar,but for rap I suppose that doesnt matter.
Old 12th August 2008
  #68
Gear Addict
 

Quote:
Originally Posted by phillysoulman View Post
There was a reel of tape on the back wall with a vari speed device which would be fed to the live chamber to delay the signal.

If you listen to "Me And Mrs Jones" by Billy Paul, you can plainly hear this effect on nearly the entire song, includiing the hi hat...
just had a listen, thanks for the `varispeed' insight thumbsup

by the way maybe you can blow up or confirm an urban myth for me..
me and mrs jones -
song about an extra marital affair or drug addiction? jones = a habit
Old 12th August 2008
  #69
Quote:
Originally Posted by phillysoulman View Post
Ill reiterate that DI acoustic guitar sounds crappy.
You lose the "air" and the space around the guitar,but for rap I suppose that doesnt matter.
Really useful post, when I clearly stated I was aware of your close-mind opinion on the subject.

As you quite clearly stated, you get a completely different sound when you DI. Sometimes.. maybe only 1 in 10, but sometimes.. that's the sound I want.

Actually, I've never personally recorded an acoustic DI.. but I've always recorded acoustic guitars looking for a more traditional sound for rock styles, etc.
A couple C414s does fine.

So what if I want to make "crappy" sounding acoustic guitar R&B (that's right, I said it!!! R&B made by a white boy in 2008 with the acoustic guitar DI'd -- could I do anything more wrong? If I can, let me know Philly, and I'll add it into the equation.
Old 12th August 2008
  #70
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Quote:
Originally Posted by ninjaneer View Post
just had a listen, thanks for the `varispeed' insight thumbsup

by the way maybe you can blow up or confirm an urban myth for me..
me and mrs jones -
song about an extra marital affair or drug addiction? jones = a habit
Extra marital affair based on a couple that used to meet at the bar next door to the old PIR offices when they were in the Shubert Building.
Cary Gilbert,one of the writers of the song,relayed the thought to G&H and the rest is history.
Old 12th August 2008
  #71
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Quote:
Originally Posted by coyotekells View Post
Really useful post, when I clearly stated I was aware of your close-mind opinion on the subject.

As you quite clearly stated, you get a completely different sound when you DI. Sometimes.. maybe only 1 in 10, but sometimes.. that's the sound I want.

Actually, I've never personally recorded an acoustic DI.. but I've always recorded acoustic guitars looking for a more traditional sound for rock styles, etc.
A couple C414s does fine.

So what if I want to make "crappy" sounding acoustic guitar R&B (that's right, I said it!!! R&B made by a white boy in 2008 with the acoustic guitar DI'd -- could I do anything more wrong? If I can, let me know Philly, and I'll add it into the equation.
Personally,I think that you should get an attitude adjustment and then holla
Old 12th August 2008
  #72
Gear Addict
 

Quote:
Originally Posted by phillysoulman View Post
Extra marital affair based on a couple that used to meet at the bar next door to the old PIR offices when they were in the Shubert Building.
Cary Gilbert,one of the writers of the song,relayed the thought to G&H and the rest is history.
thanks again philly,

you and sigma ought to go about looking for a book deal.

for real!
Old 12th August 2008
  #73
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ryst's Avatar
 

Quote:
Originally Posted by phillysoulman View Post
Ill reiterate that DI acoustic guitar sounds crappy.
You lose the "air" and the space around the guitar,but for rap I suppose that doesnt matter.
I absolutely LOATHE acoustic guitar going direct. In fact, i don't own any acoustics that have a pickup. The only time I see DI's necessary is when someone is playing live. And I definitely need an acoustic for live shows soon.
Old 12th August 2008
  #74
Gear Maniac
 

Quote:
Originally Posted by J*808 View Post
Hey Guys,

Have read this post a few times now, it really is a master class on
Guitar/Studio recording! Thanks

I'd like to spice up the conversation slightly by talking about Guitar Rig if I
may?

To me it's becoming a very strong choice when I decide to lay down guitars. Partly due to it accessibility and ease of use but not only that, it's power too. I'm the first to choose a real amp and good mics/room over software any day but it's amp sim and mic emulation are getting better and better.

Any one out there a regular rigger?

J*808 - Dublin, Ireland
I haven't tried Guitar Rig yet, but right now I rate the Amp emulators best first,

1. Vintage Amp Room - Sounds good and is easy to use, kind of like a real guitar amp, would love to see a Version 2 with a few more amps and microphone selection.

2. Amplitube 2 - Pure power and flexibility, but a little CPU heavy for what I need most times.

3. Studio Devil - This new thing is awesome when used with Speaker Phone which I don't have but will soon be purchasing after I demoed it at a friends.

As far as the convorsation about DI acoustics, I'm not much of fan IF YOUR TRYING TO GET THE SOUND OF AN ACOUSTIC. That being said the Piezo sound is so base that its a lot of fun to screw with in other ways. You can do things with it in a mix you cant do with an electric or acoustic guitar.

Some one mentioned micing a Les Paul. I helped a local band record their kind of pop, punk, metal thing, a while back and the guitarist was really into shredding guitar solos. To accentuate that, we put him in a separate room than the amp and pointed an SM57 at the fingerboard, then blended that signal with the miced amp. The added string noise added a great dynamic to the guitar recording and the guitarist, normally very difficult to deal with, was extremely excited and easy to work with the rest of the album.

Fun experience and would love to try more things like that.
Old 12th August 2008
  #75
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ryst's Avatar
 

Quote:
Originally Posted by Jake Gilla View Post

Some one mentioned micing a Les Paul. I helped a local band record their kind of pop, punk, metal thing, a while back and the guitarist was really into shredding guitar solos. To accentuate that, we put him in a separate room than the amp and pointed an SM57 at the fingerboard, then blended that signal with the miced amp. The added string noise added a great dynamic to the guitar recording and the guitarist, normally very difficult to deal with, was extremely excited and easy to work with the rest of the album.

Fun experience and would love to try more things like that.
Yea, micing the actual electric guitar strings is a cool way to add life to a track, especially if you are using an amp sim instead of a real amp. It adds air that normally wouldn't be there.

I do agree that the only other time i can see going DI with an acoustic is if it's for an effect....but definitely not if you want to have a beautiful sounding natural acoustic guitar track in your song.
Old 12th August 2008
  #76
Quote:
Originally Posted by phillysoulman View Post
Personally,I think that you should get an attitude adjustment and then holla
Listen people, not everyone is making folk music!! I said clearly I understand that DI "sounds like crap"

However, you get an entirely different sound when DI'ing, and I'm curious how to get the best of that 'terrible' sound.

I'm not trying to skip corners and avoid mic'ing. I've recorded acoustic guitar numerous times, and it's always been mic'd. That's usually the sound I want (a "good" sound)

What do you do when your client wants a certain sound he heard on the radio, and you happen to know that you achieve that sound by DI'ing an acoustic??? Tell him to go **** himself??

I would rather do it, and do it the best I can..hopefully better than the cheesy song he got the idea from (which is why I asked about the benefits of this box below)

LR Baggs Para Acoustic D.I. from zZounds.com!

LR Baggs Para DI Box
Old 12th August 2008
  #77
Quote:
Originally Posted by Jake Gilla View Post
Some one mentioned micing a Les Paul. I helped a local band record their kind of pop, punk, metal thing, a while back and the guitarist was really into shredding guitar solos. To accentuate that, we put him in a separate room than the amp and pointed an SM57 at the fingerboard, then blended that signal with the miced amp. The added string noise added a great dynamic to the guitar recording..
Great tip man! Thanks!
Old 12th August 2008
  #78
Quote:
Originally Posted by coyotekells View Post

What do you do when your client wants a certain sound he heard on the radio, and you happen to know that you achieve that sound by DI'ing an acoustic??? Tell him to go **** himself??
I can't think of a single record I've ever heard and taken seriously where the guitar was DI'd, other than live recordings, and I can't imagine ANY serious guitar player not recognizing and PREFERRING the sound of a DI.

The only DI I've heard that sounds halfway to mediocre was a very complex system that placed pickups in multiple positions all over the body of the guitar, and used an outboard matrix to blend and phase-align them, as well as EQ them. After all that, it still sounded only OK.

If a client somehow heard a record somewhere where there was a DI'd-only guitar and asked me to recreate that sound, I'd certainly not tell him to go **** himself. But I WOULD explain that there are dozens of ways to get a similar but better sound. For example (and I've actually done this), mic'ing an amp fed by the pickup of a guitar. You get the "air" and the dimension, and if you choose the right amp (I like my Victoria Victoriette combo), you get a DI sound with dimension and a not-too-heinous top end. Plus, at least with my amp, anyway, you can blend in some tasty spring verb.heh
Old 12th August 2008
  #79
Quote:
Originally Posted by ryst View Post
Yea, micing the actual electric guitar strings is a cool way to add life to a track, especially if you are using an amp sim instead of a real amp. It adds air that normally wouldn't be there.
It's also a really great way to get very hi-fi, very "real" jazz guitar tones. The combination of a great jazz guitarist, a beautiful little combo amp, and a great mic on a big ol' hollowbody jazz box is a wonderful thing. All the detail and tone you could ever hope for.

Of course, with anything less than a great player, those nuances quickly become a headache, so make sure you're recording a Joe Pass or some such.
Old 12th August 2008
  #80
And the Neptune's have the worst drums because they're fake, stale, over quantized and the percussion is programed in a ******** way that no hand drum player would ever play.

Yet because of it, they stood out, and every dip**** started copying it until we all couldn't take it anymore. Sorry, they have something, but no purist will ever try to acknowledge that. It seems that's happening here.

I refuse to believe that you can't DI an acoustic with the INTENT of getting the sound that only DI will give you (clinical, stale sound with nasty top end) .. and make a record that sounds different in an interesting way that everyone in the field (of that genre) will praise and/or argue about on GS.

Before I didn't care, and was quite against DI'ing acoustics, but now I really wanna go against all that just because I'm frustrated that no one has anything to say about the subject except "Don't do it"
Old 12th August 2008
  #81
Quote:
Originally Posted by coyotekells View Post
And the Neptune's have the worst drums because they're fake, stale, over quantized and the percussion is programed in a ******** way that no hand drum player would ever play.

Yet because of it, they stood out, and every dip**** started copying it until we all couldn't take it anymore. Sorry, they have something, but no purist will ever try to acknowledge that. It seems that's happening here.

I refuse to believe that you can't DI an acoustic with the INTENT of getting the sound that only DI will give you (clinical, stale sound with nasty top end) .. and make a record that sounds different in an interesting way that everyone in the field (of that genre) will praise and/or argue about on GS.

Before I didn't care, and was quite against DI'ing acoustics, but now I really wanna go against all that just because I'm frustrated that no one has anything to say about the subject except "Don't do it"

But the Neptunes weren't presenting those sounds as "natural" drum sounds. Also, we as listeners have a very broad range of acceptance when it comes to drum sounds. Claps, snares, finger snaps, et al can all provide a back beat. Kick drums, djembes, congas, et al can all provide the boom. Shakers, ride cymbals, hi hats, tambourines, et al can all keep time. What I'm saying is, drums aren't guitars. Drums can be almost anything that provides rhythmic structure and groove. Guitars are, well, just guitars.

Maybe we agree on the point that a DI can be used for a special, crappy-sounding effect. But in terms of accurately capturing the instrument, the DI simply fails. In this day and age, drums don't need to be accurately captured, because our definition of "drums" is so broad.

Anyway, I absolutely encourage you to find ways to creatively use a DI to create ****ty and interesting sounds. The thing is, you can get as creative as you want, but you're not going to convince anyone that you've used something other than a DI, which I think is the point of all the posts on this thread. You're also not going to capture anything beautiful or three-dimensional, which I think has become the gist of this thread.
Old 12th August 2008
  #82
Quote:
Originally Posted by bgrotto View Post
But the Neptunes weren't presenting those sounds as "natural" drum sounds. Also, we as listeners have a very broad range of acceptance when it comes to drum sounds. Claps, snares, finger snaps, et al can all provide a back beat. Kick drums, djembes, congas, et al can all provide the boom. Shakers, ride cymbals, hi hats, tambourines, et al can all keep time. What I'm saying is, drums aren't guitars. Drums can be almost anything that provides rhythmic structure and groove. Guitars are, well, just guitars.

Maybe we agree on the point that a DI can be used for a special, crappy-sounding effect. But in terms of accurately capturing the instrument, the DI simply fails. In this day and age, drums don't need to be accurately captured, because our definition of "drums" is so broad.

Anyway, I absolutely encourage you to find ways to creatively use a DI to create ****ty and interesting sounds. The thing is, you can get as creative as you want, but you're not going to convince anyone that you've used something other than a DI, which I think is the point of all the posts on this thread. You're also not going to capture anything beautiful or three-dimensional, which I think has become the gist of this thread.
I tried to clarify that in my first post, but because PSM derailed it, everyone jumped on that wagon and assumed I asked something I didn't.

I'm not trying to fool anyone, and like Neptunes (for example), I'm trying to get a different sound from the guitar..

Every time I've recorded an acoustic, it's been to get a 'real' sound, and I've made serious efforts sometimes to get the best sound I could (borrowing a $2500 Laravé, renting a couple C414s, whatever I could to do the best within my means).

I'm not trying to cut a corner, and "fool" people with a DI guitar.

However, just because I want a crappy sound of DI, doesn't mean there's not varying degrees of "crappy"...

I was hoping someone would comment on that DI box, or anything else they felt was relevant, when recording DI guitar.

Obviously it's so damn taboo that no one has ever done it before, so no one can comment.... I guess I'll be a pioneer then, and everyone can laugh when I make some cheesy sounding guitar parts... :(
Old 12th August 2008
  #83
Quote:
Originally Posted by coyotekells View Post
I tried to clarify that in my first post, but because PSM derailed it, everyone jumped on that wagon and assumed I asked something I didn't.

I'm not trying to fool anyone, and like Neptunes (for example), I'm trying to get a different sound from the guitar..

Every time I've recorded an acoustic, it's been to get a 'real' sound, and I've made serious efforts sometimes to get the best sound I could (borrowing a $2500 Laravé, renting a couple C414s, whatever I could to do the best within my means).

I'm not trying to cut a corner, and "fool" people with a DI guitar.

However, just because I want a crappy sound of DI, doesn't mean there's not varying degrees of "crappy"...

I was hoping someone would comment on that DI box, or anything else they felt was relevant, when recording DI guitar.

Obviously it's so damn taboo that no one has ever done it before, so no one can comment.... I guess I'll be a pioneer then, and everyone can laugh when I make some cheesy sounding guitar parts... :(
You're definitely right, there are varying degrees of crappiness. And I'd be lying if I said I'd never took a DI line off an acoustic guitar. I'll bet most others would be lying, too. It's just that despite my VERY nice collection of DIs (DW Fearn, Avalon, Radial, Countryman, and a whole slew of custom passive DIs of varying designs), direct acoustic guitars just plain suck. Every time I've used a DI, I've used it in conjunction with the mics I put up. DIs simply are not all that musical.

Now, I believe there are ways to spice them up. For example, using the direct out of an acoustic guitar to feed an ultra-clean Fender-style amp. You get all the DI crappiness, but with a sense of dimension and a more mellow and musical top. Or running the DI into a freaky compressor or EQ to obliterate whatever's there. In other words, to un-DI the sound.

I'm really not one to write off any recording technique; I love to experiment and try to get unique sounds. But in making 100% of the acoustic guitar recordings I've made (and I've made A LOT!), I've found that it takes more time to make a DI usable than it takes to make a mic'd instrument usable, and the mic'd results ALWAYS sound better. I guess I'd just rather fiddle with microphones than a DI to make music.

But again, if you can come up with a technique or a song that makes DI'd acoustic guitar happenin', more power to you! I've got nothing against DIs, I just think they sound bad.
Old 12th August 2008
  #84
Gear Maniac
 

Quote:
Obviously it's so damn taboo that no one has ever done it before, so no one can comment.... I guess I'll be a pioneer then, and everyone can laugh when I make some cheesy sounding guitar parts... :(



Quote:
Originally Posted by Jake Gilla View Post
As far as the convorsation about DI acoustics, I'm not much of fan IF YOUR TRYING TO GET THE SOUND OF AN ACOUSTIC. That being said the Piezo sound is so base that its a lot of fun to screw with in other ways. You can do things with it in a mix you cant do with an electric or acoustic guitar.

Just in case you missed it.

Feel free to ask questions on the teqniques I've used, or just focus on being argumentative. Peace
Old 12th August 2008
  #85
Quote:
Originally Posted by Jake Gilla View Post
Just in case you missed it.

Feel free to ask questions on the teqniques I've used, or just focus on being argumentative. Peace
Sorry, wasn't my intent at all.. my question got totally derailed despite my disclaimer ("please don't argue about how DI sounds "bad".. I'm aware)

I didn't think you'd be the only one to be willing to speak on the topic, so I didn't direct my questions specifically at you Gilla.

I'm interested in DIing to get some different sounds, somewhat synthetic perhaps.

My current pre is a Chandler LTD-1 which has a DI. It's modeled after the 1073.

What are some general pointers you feel worth pointing out on the subject (ie, the guitar/pickup .. i see you mention Piezo) and mode of entry (ie, the preamp). Does this little unit (or similar) actually offer anything notable?

LR Baggs Para Acoustic D.I. from zZounds.com!

It was recommended in a different thread containing this argument about DI

Sorry if my question was too general.. but I'm all ears for any little tid bits/experiences you wanna through out there.
Old 12th August 2008
  #86
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Quote:
Originally Posted by coyotekells View Post
Sorry, wasn't my intent at all.. my question got totally derailed despite my disclaimer ("please don't argue about how DI sounds "bad".. I'm aware)

I didn't think you'd be the only one to be willing to speak on the topic, so I didn't direct my questions specifically at you Gilla.

I'm interested in DIing to get some different sounds, somewhat synthetic perhaps.

My current pre is a Chandler LTD-1 which has a DI. It's modeled after the 1073.

What are some general pointers you feel worth pointing out on the subject (ie, the guitar/pickup .. i see you mention Piezo) and mode of entry (ie, the preamp). Does this little unit (or similar) actually offer anything notable?

LR Baggs Para Acoustic D.I. from zZounds.com!

It was recommended in a different thread containing this argument about DI

Sorry if my question was too general.. but I'm all ears for any little tid bits/experiences you wanna through out there.
Judging by your signature. It looks like you have two user names on the board. This is not allowed.

Please only use the first one "St. Kelly", and I will delete this one.
Old 13th August 2008
  #87
Gear Maniac
 

Quote:
Originally Posted by coyotekells View Post
I'm interested in DIing to get some different sounds, somewhat synthetic perhaps.
All good, I've done this a few times, hopefully other will contribute, as I go for more synthetic than somewhat.

Most acoustic guitars have a (fishman) piezo pickup under the bridge, you can use a sound hole pickup I guess, but that that point I'd probably just plug in an electric. The reason the piezo can be really cool is being under the bridge it picks ups alot of highs and really kind of brittle sounds.

The only rule of thumb I've found is using a High Pass filter to cut a lot of the lowend out, as it usually sounds terrible. After that its really up to you how you want to play it, but I find its best not use the guitar as you normally would. You can create great effects as the sound is really base in the way of overtones.

My favorite time I've done this was with a fender telacoustic through front of an mbox 1. We put pretty heavy fuzz first with amplitube le and then ran it through a high pass filter and a rotary speaker emulation. This gave us a great kind of synth lead sound that worked great in that particular project. Another favorite was with some low end Martin through an LA610 with a band pass filter and enough delay to make it feed back on itself, really cool ambient sounds. I should have the track of one I did at my house for a dub effect through a friends 7602 (i think, the Chameleon labs neve clone) that came out pretty good with more of guitar tone. I'll see if I can find it.
Old 14th August 2008
  #88
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Electric Guitars and Hip Hop

Sometimes DI'd if we're lazy into our Yamaha PM1000s with the hi pass turned off and some drive on the input and the output transformer.


Most times we mic em thru amps.

At the beginning we were using a Marshall Valvestate with 2 12s and a Crate Amp.

Now we're recording with a Peavey Classic Tube and a Laney Tube Amp. I generally like to stick a SDC in front of guitar amps for some reason, like little pencil condensers with a pad.

I do like the mxl v67 on some guitar tones, lately I've been using a Behringer B1 with a MXL V76t capsule and its got some nice mellow tones on it.

My biggest preference has been the Oktava MK319 on distorted guitars, sounds so cocoa mellow velvety. I really dig my C12/ELAM 251 clone on acoustic and clean electric guitars. In a pinch it works on heavy guitars too.

I usually just jam the mic in front of the amp by the speaker maybe 2 inches back nothing major in terms of distance.

If I want a fatter tone, I'll put a SM58 right on the cone with a LDC and blend the two together in the DAW.

Sometimes I'll have the guitarists overdub their parts for heavier songs with their amps full on and the mic will be about 6 inches to a foot back from the amp, this is more of a sound effect than anything but it sometimes gives more vibe to the guitar recordings.

No real rules to the game in my book. Get a good sound and work it work it!

As far as acoustic, anything goes in hip hop. Me personally I like articulate acoustic sounds, I prefer an MXL 991 over my nicer LDCs for some quirky reason but the recording always sits well in the mix. In a pinch, I'll throw an SM58 on an acoustic (yeah I know) but its got a nice gritty demo kind of sound to it that makes it more like a hip hop sound than a top 40 sounding acoustic.

I also have a LaFayette Dynamic that I got at the thrift shop for 8 bucks that sounds nutty on guitars because it can take TONS of SPLS and won't clip!

Love it on distorted guitars or loud clean tones.

We record guitars with an Epiphone semi hollow (great for jazzy or really hairy tones) with upgraded humbucker pickups. A G and L strat stock pickups, nice bluesy tone. Les Paul for slide guitar work with upgraded humbuckers. A 100 dollars red semi hollow body with stock pickups, really distinct ****ty old school tone, like dub music from the 70s and 2 more Fender strats in varying makeups.
Really partial to MXR and Boss Pedals.
Peace
Illumination
Old 14th August 2008
  #89
Here for the gear
 

See post #56

Quote:
Originally Posted by coyotekells View Post
And the Neptune's have the worst drums because they're fake, stale, over quantized and the percussion is programed in a ******** way that no hand drum player would ever play.

Yet because of it, they stood out, and every dip**** started copying it until we all couldn't take it anymore. Sorry, they have something, but no purist will ever try to acknowledge that. It seems that's happening here.

I refuse to believe that you can't DI an acoustic with the INTENT of getting the sound that only DI will give you (clinical, stale sound with nasty top end) .. and make a record that sounds different in an interesting way that everyone in the field (of that genre) will praise and/or argue about on GS.

Before I didn't care, and was quite against DI'ing acoustics, but now I really wanna go against all that just because I'm frustrated that no one has anything to say about the subject except "Don't do it"
Old 8th September 2008
  #90
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I'm a big fan of using real guitars, I find I never get the right sound from software instruments (although I have found some software where I can actually hear the licks from the guitar). The model of guitar isn't important, it's what you can do with the guitar. I've seen people in the discussion post pictures of Focus -- Focus is a trained bass player, he comes from an amazing musical background. The average producer (beatmaker) will not be able to pick up a bass guitar and after a few months be able to play.

Using guitars in your tracks is risky, unless you have the right riff for it, it's just not going to sound right. For Styles' "In It To Win It" record, I used a Martin acoustic guitar. I recorded it at a million dollar studio in Manhattan with a classically trained guitar player and engineer (probably similar to Dre's technique). Unless you're going to hire a guitar player/or you play, I recommend either sampling the guitar riff you're looking for, or using midi to create it. I know reason has some pretty good acoustic and electrics.

You can see what I'm talking about on my page, go to "Styles P -- In It To Win It" on my page. MySpace.com - Cafe Society - Mahwah, New Jersey - Pop / Rap / R&B - www.myspace.com/cafesocietybeats
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