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Weird tones when recording electric guitars
Old 15th September 2015
  #31
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nevefreak's Avatar
 

Quote:
Originally Posted by hasbeen View Post
Sure, if you listen at dangerous volume levels.

Don't misunderstand the process. The earbuds are at a normal level and the muffs over those eliminate unsafe volume.
except ear buds are not a studio quality reproduction. The only way to possibly dial in a good guitar tone with headphones would be to use open back headphones ala AKG 701, but again you are just asking for trouble

your "method" should be avoided, no offense but it's just bad advice. It will never give you an accurate sound and it's very hazardous to your hearing
Old 15th September 2015
  #32
Here for the gear
 

Lots of good advice here thanks all.
Yes combining the mics did seem to sound even worse than soloing. The phasing was VERY apparent. Even when soloing each mic...I was getting fizzy sounds. I'm leaning towards the comment above suggesting that it might be the gain stacking I'm doing. Fuzzy pedal driving an already crunchy amp, then the mic is driving the preamps perhaps too hard. I just cranked the amp and left the ISO booth so it didn't hurt my ears. Then would come in a tweak here and there....clearly my technique needs some work. Will experiment tomorrow. Also thinking of ditching the blues jr. I really miss my old jcm900 half stack ...best amp I ever had...but didn't have the room for it anymore.
PS: I ordered some of the Vic Firth isolating headphones, and they arrived the same day via Amazon! Love them. During a test they blocked out the sound of my screaming toddler and upset wife who suggested I wasn't listening.
Old 15th September 2015
  #33
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hasbeen's Avatar
Quote:
Originally Posted by nevefreak View Post
except ear buds are not a studio quality reproduction. The only way to possibly dial in a good guitar tone with headphones would be to use open back headphones ala AKG 701, but again you are just asking for trouble

your "method" should be avoided, no offense but it's just bad advice. It will never give you an accurate sound and it's very hazardous to your hearing
Lets just agree to disagree on this. I stand by my advise. And invite readers to give it a try.

Your statement:

"The only way to possibly dial in a good guitar tone with headphones would be to use open back headphones ala AKG 701, but again you are just asking for trouble"

Again. I disagree. There is no 'only way' in this process. There is no danger of a hearing hazard using my suggested method but some may not grasp the concept.

BTW, no offense taken. The results are the bottom line.

Old 15th September 2015
  #34
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Geetarpicker's Avatar
 

As I mentioned I play in a band with another guitarist who has a Blues Jr. and his seems to sound a little better if it's not pushed too far. Some amps get thicker when you turn them up, but on the other hand some EL84 amps tend to get fizzier the harder they are pushed. You might try keeping the amp cleaner and working with your pedals instead of cranking the entire signal chain.

You will really find the iso phones handy!
Old 16th September 2015
  #35
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Back offa the gain; take two 57's and try them like this: the first 57 is straight-on to the cab, 1" from the grill. Find the best place for that mic. Then take the 2nd 57 and aim it 45 degrees relative to the first one...the capsules as close as possible without touching. Blend to taste.
Thank you Andy Johns.
Old 16th September 2015
  #36
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GreenNeedle's Avatar
 

It could easily be the room you are in has some weird build ups with certain frequencies, small rooms hate electric Gtrs.
Start with one mic and get it sounding good first, if u need more texture add another and make sure it helps.
Also the blues jr has horrible grit, turn the master up as high as you can and nudge the drive just until the full range signal comes through, thats the best that amp will sound, it will be spanky and sweet and you will be hearing the nice 84s, if you want more dirt use a pedal.
Old 16th September 2015
  #37
Quote:
Compressors using quick attacks and high thresholds just to catch transients.
For me one of the most important parts of "crunch" tone is the crisp transient. It's the "Cuh" in "Cuh-rrrrunch". Good crunch tone (for me anyhow) requires that crisp transient. I would never put a fast attack compressor on a Billy Gibbons. I would try to get the 57 placed so it sounds crunchy and percussive (trial and error), use a fast pre like an API 312, and go for an 1176.
Old 16th September 2015
  #38
Gear Addict
 

Here's a trick.
I use the amps noise to place the mics.
Turn up the amp loud enough so you can hear the noise.
Start with one mic and turn up the gain so that the noise is heard properly.
Put on headphones and begin by placing the first microphone.
Listen to the noise while moving the mic in front of the speaker. Place the mic where the noise is strongest.
I start with a mic at the center facing towards the dust cap.
Now take mic number two and do the same but let the first mic remain with the gain turned up.
Start moving the mic number two and listen to the noise from both mics, Place it at the point where the noise is the loudest.
Now you have found the right place for both mics. Repeat for as many microphones as you want and blend to taste.
Works every time.
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