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What would be a good mic (and pre) to capture above 10K of a distorted guitar?
Old 22nd September 2007
  #31
Lives for gear
 
Sigma's Avatar
Quote:
Originally Posted by 84K View Post
6-800 can also be the source of mud. Sometimes I will boost 80 and cut at 800 for that modern thud-and-buzz that a lot of people like. A lot of the modern guitars get their grind at 3k. Its a buzzy world these days my friend. Tone is becoming a lost art.
i pull 180-330 for mud and add a little 100-120 for sizzling up to the bass gtr..but we are both in the ball park

600-800 was a todd rundgren trick back in the day..

not enuff ...whimpy ..too much...nasally.. a lot of meat to play with there
Old 23rd September 2007
  #32
Gear Maniac
 
wrekdahouse's Avatar
 

if thik there is a lot of information above 10 k in guitars, electric and acoustic. harmonics maybe ? very useful sometimes, but not always.
i recomend for getting some wide guitars api preamps with beyer m88, senheisser md441(hi/low cut-boost), and neumann u87. maybe those neumann dynamic mics, i cant recall now the model, but if you get one of those thats not destroyed, they got some cool neumann dynamic thinner sound. pultecs are magical, i use a couple from time to time.
of course the gtr cab and the room is very important, besides the amp, for those high frecuencies. mesa, fender cabs are good for that, i use them when i go for that high high fi compressed modern gtr sound.

lots of different tastes over here, very cool
Old 23rd September 2007
  #33
Gear Maniac
 

Hello.

Thank you very much for your responses.
I now understand that you are trying to tell me.
Understanding your posts, I think what I like is not actually produced from the amp.
It is maybe the air from the room? also a little bit of hiss.
or harmonics like you said.

Thank you for your suggestion on the mid band of the 1073. I think the mid band can actually change the tone too much when a guitar player is making good sounds. I think I like the little something over top of the distorted guitars.
I always like to let players make very best sounds before recording. I ask them to overdub if they cannot make good sounds at once not by EQing in the mix.
For rock bands, the time when I use parametric EQs (like normal boosting and cutting the core tone) is for vocals and drums or any none electric instruments, and that is why I like the top and bottom of good EQs like the 1073 because it can produce something that only the EQ can produce.

But like you said, I may be hearing the lower freq boosted by the top (10k) filter though I believed the ti ti ti sounds (if described by words) were over 10K.

I never knew that guitar cabs had freq limit so low.
When I hear whatever distorted guitar, it sounds full range to me, but maybe it is from the room.
I learned something new. Thank you very very much.

Well, then the question is, what would you use to capture the high end much?
I use the royer and the 1073 for lower, so if another set up captures the high end, it is perfect to blend. I will also over dub the guitars at least three time asking the player to make super hi, normal, super low tone, so if it is 3 takes, 6 tracks of the guitar part in the mix. )

Thank you for all of your posts, and sorry for not putting samples or any kind.
Old 23rd September 2007
  #34
Gear Guru
 
u b k's Avatar
 

Quote:
Originally Posted by Sigma View Post
our neve 1107's added 5 dB at 5k when you turned the hf up 3db at 10k..go figure

yeah, if the shelf is steep enough it'll overshoot at the corner, creating a bit of a resonant peak that settles back in by the time it hits the target freq; there's often a bit of a dip below the corner as well. it's a cool sound, and the reason why steep shelves are easier to hear when sweeping around. they also behave more aggressively, less transparency more balls.


gregoire
del
ubk
.
Old 23rd September 2007
  #35
Lives for gear
 
Sigma's Avatar
Quote:
Originally Posted by u b k View Post
yeah, if the shelf is steep enough it'll overshoot at the corner, creating a bit of a resonant peak that settles back in by the time it hits the target freq; there's often a bit of a dip below the corner as well. it's a cool sound, and the reason why steep shelves are easier to hear when sweeping around. they also behave more aggressively, less transparency more balls.


gregoire
del
ubk
.
that's why if you don't understand classic hardware eq design idosycracies you can't emulate and often get in trouble with DAW variable freq parametric eq's [you look at the purrrrty symetrical "picture" instead of listening to the sound]
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