The truth is if you master the techniques above

The users of the forum recommended putting the mic on the brightest spot. However, many great engineers use phase cancellation as a way of eq'ing the amps. I've heard success stories of acoustic guitars running through cranked Rectifiers. Next, run the mic through some loud heaphones with good isolation. Assuming you like the sound that each mic makes (Remember, you want one to be too bright and the other to be too dull) you will experience one of three things. You might find sweet spots in the room. This means the mics are almost totally out of phase. With any recording, getting the source right is 99% of the ballgame.) However, when you get the mics in phase, you will have much more control off your recordings. The solution is to push the phase button on your preamp or mixing software.

This sound is almost always fizzy and thin. Pushing the phase button only changes the tone in the mids and does not have make a big impact on the low end. Check out my website for details. This sound almost means good things. One trick to help choose the best spot to place the mic I read in a forum years ago. If you want to expand your mic collection, go ahead.I start out by placing one SM 57 on the cone. There are a number of SM 57 clones that are essentially the same microphone. Push the phase button back to your big guitars again. In this case, some other frequency is out of phase and the low end is in tact. You want the combined sound of the mics to be so thin that it isn't usable.. There are a few methods to trying out mics. Now record both mics and see what you get. (If you are not familiar with phase cancellation, check out my website, www. Even if they are not the same mic, try them. Did you take the time with each mic to make sure you found the best sounding spot on the amp?

You could do this with each mic, but the spot that just sings for each microphone will probably be in a different spot for each mic. If the tone totally dissapears and all you can hear is some fizz, you've got the tone down. It's not bad, but it's not right either. If you don't have at least one, get one used off of Ebay or something. It probably won't help. You could pull the highs down too far to see where the tone ends up. The average listener expects the recording quality of your music to be the equivalent of those amazing productions you often hear on the radio. Then, with the headphones on, start moving the mic in front of the speaker. The second mic should sound the opposite. We want a track in the mix that is bright, thin crap that we can use as much or as little as we feel the mood for.My favorite trick when recording guitar amps is to use two different microphones on one speaker. This is what I always go for. Try a search for "bass trap" or visiting www. There are a number of mics that work great for electric guitar amps. You have to be aware of phase Sometimes I wish I could go back and change something on a tone. In many instances, it will make the problem worse.

You may try actually moving the amp in a few different places in the room. We want it to be big, meaty, and full of chunky low end. I usually don't like to leave the mics like this. I find that what I'm looking for when mixing is much different when I'm tracking. In the meantime, grab whatever dynamic you have and give it a try. In my first recording room (which happened to be very small and very unideal for recordings), I noticed that moving an amp just a few inches had a dramatic effect on the low end coming out of the amplifier. Then listen to both of them together. This mic should sound a little dull by itself. Eventually, you'll find a middle ground that keeps your perspective out of the way. The brightest spot may be perfect with a darker sounding amp. I go for Cable Rollers Factory1 or #2. Listen to each mic by itself first. You could slap every mic you own on the amp to see it it's happening for you.

This means I put the mic in the dead center of the speaker.recordingreview.If you are just starting out and have no idea what mic would be best for a given job, start with an SM 57. Sometimes angling the mic towards the edge of the speaker helps, too. As crazy as it may sound, that's exactly what we want. You will be amazed at what you are hearing. I tihnk your time could be spent better. (Just a side note, if you are planning on doing treatments for your room, skip the foam stuff.With modern music (especially pop/rock music) production demands are greater than ever.When you have a tone that you are pretty confident about, it's time to pull out the mics. You'd be amazed at what kind of recordings you could get with a Telecaster through a Mesa Boogie Rectifier. This is what you want. So exeriment greatly with the amp before you get serious about microphones.recordingreview. You need to use your ears on this one. If you find that you are not happy with a given guitar, maybe you should try plugging in a different guitar just to see. This is highly advanced engineering, and not for the faint of heart However, if you stumble on a sound that you really like, by all means, go with it.

I later learned that this was quite normal for small rooms with no acoustic treatment.Well that gives you food for You could always settle for the tone already on the amp, or you could push the highs up too high to see where they end up.3) The sound is weird. This means that a great singer with great tone will sound good through pretty much any microphone. You'll notice that we didn't talk about different microphones. If you push the phase button, it should sound like what you may have experienced in #1. The type of guitar you use makes a big difference on how the amp will sound. It said to unplug the instrument cable from the guitar amp, crank the amp up to very high levels, and put the SM 57 (or whatever mic you are using) in front of the speaker. One rememedy for this is recording the two mics from one speaker to two seperate tracks that will allow you to blend them differently to create different tones on the recording. This is no secret.In fact, I recommend that you mess with the tone # quite a bit just to see. With very few exceptions, I've found it to be a crappy guitar sound.

The sound will be big and full. You never know. The truth is if you master the techniques above, you won't have too much need for more mics. So with the guitar (and anything else you intend to record), it's important to get the instrument doing exactly what you want before you even bother putting a mic in front of it. The problem with this approach is mic placement. You will hear all sorts of changes in the tone simply from moving the mic around. I have not had much luck with putting a mic exactly at the brigthest spot because it can get a little bit too fizzy at times, but feel free to try it and see what works. Try doing something off the wall or downright wrong.

They are cheap and everyone has one. This means that a great sounding violinist with a great sounding violin in a great sounding room will sound this way through any functional microphone. Then when you push the phase button on one track, the tone comes to life. You should walk around the room the amp is setup in to hear exactly what is going on. Granted, some microphones will impart their character onto the source (for better or worse), but with any operating microphone a great musician will still sound great. You are not sure what it sounds like. 1) The sound will be extremely thin sounding as if you rolled off all the low end with a parametric equalizer. Since this discussion could take weeks and weeks and page after page, I've decided to narrow the focus of this guide to recording the electric guitar. However, many people get in a rush when recording and think that adding some sort of effect or plugin on the computer will get them what they are looking for. This mic ends up in different places with every amp that I use, but most of the time it can be found 2"-3" from the first mic in any direction

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