recording experiences (1 Viewer)

[RED(tape)MENACE]

i've come to the conclusion that close micing my cab is not getting me the sound i hear.

Please elaborate..

 

[snakybus]

I love every single minute of recording. I never get bored of it.

It's even better when you're doing it with people you can have a laugh with.

Oh and Anthony: handclaps in one go, also BVs. You can't beat the dynamism of a live take, especially if it's harmonies. Capture the magic and all that.

 

[RED(tape)MENACE]

Yeah.
I think recording should be fun, or something's amiss.
Hard work, but fun.

 

[mark]

that's because you can't be arsed carting that huge cab to anywhere you record.

nope, i'd say 10% (at most) of my axe on the last album was the 2x12 recorded with steve, the rest was done either at home or at the rednecks room with the 'ringer.

Please elaborate..

my cab is a sraight fronted jobby and i'm nearly 6'4. i guess it makes sense that in travelling up to me ears the sound changes somewhat. so ideally i should use a nice ribbon mic placed at head height to record the sound i want, or is that just dumb. a 57 up close just dont do it for me.

it also might be the cab. there are 4 100w speakers in it.

 

[hermie]

yer only option then is a decent studio with a cracking live room and deadly mics. delicious ribbon mics.
never heard a home recorded guitar that i've thought ruled

not even pinback?

 

[sparse]

a 57 up close just dont do it for me.

I think you've just answered the problem there

http://electrical.com/item.php?page=1&pic=pictures/1.jpg

 

[dudley]

pinback have an amaaaazing pro standard studio

 

[snakybus]

my cab is a sraight fronted jobby and i'm nearly 6'4. i guess it makes sense that in travelling up to me ears the sound changes somewhat. so ideally i should use a nice ribbon mic placed at head height to record the sound i want, or is that just dumb. a 57 up close just dont do it for me.

why don't you place the mic where your ears normally are, ie 6'2" off the floor or whatever?

 

[mark]

pinback have an amaaaazing pro standard studio

and most guitars (if not all) are recorded with a pod.

 

[mark]

why don't you place the mic where your ears normally are, ie 6'2" off the floor or whatever?

yeah. hopefully i'll get to use a mic that will be able to do that faithfully.

 

[RED(tape)MENACE]

I use 57's less and less. Haven't used one on guitar in a while.
What component of the sound you hear in the room does the close 57 not get ya, dude?

 

[ElRoadio]

If you're sick of the 57, why not try a SM7-similar mic but with a larger diaphragm(and price)-class on anything-gives you that "in the room" sound!

For a deadly room sound get a T-Bone large diaphragm ribbon-
http://www.thomann.de/thoiw6_the_tbone_rb500_prodinfo.html


Bargain@€115

These are class room mics as well with a 3 switch pattern
http://www.thomann.de/thoiw6_the_tbone_sc1100_grossmembranmikrofon_prodinfo.html

 

[hermie]

pinback have an amaaaazing pro standard studio

thought that first album was recorded in rob crow's bedroom.had always astounded me, must've been mistaken

 

[ernesto]

thought that first album was recorded in rob crow's bedroom.had always astounded me, must've been mistaken

you're recorded in rob crows bedroom. haHA!

great album alright.

back to topic:
having the right mics,being well well rehearsed, having an engineer or someone who can really bring out a song goes a long way. personally ive recorded in temple bar on an overnight session a few years ago. was ok results but we had no input in the mixing process or anything other than playing as we were quite naive at the time.

 

[Anthony]

those overnight jobs are the pits.

 

[ernesto]

those overnight jobs are the pits.

yeah, rest of band were drinkin all night but i was on the red bull all night. highs and fucking lows! recording is tiring enough without having to do it overnight. still, only csted us bout 40 euro each for 4 songs. cost effective like

 

[Bad Intentions]

Recorded a fair bit of stuff in studios and out of studios.

My two cents:
The most enjoyable and most straightforward times were when we recorded where where we practiced. In each case being comfortable in the room and not having to worry about the clock ticking meant it felt right. Good engineers who like recording what's actually there help Alan O'Boyle, Jack Cawley and Les Keye in those instances.

Disaster has been caused when were too pernickity about the individual bits and pieces. Spending ages getting the right guitar/drum sound has always been a disaster for us. Every time goddamnit.

My favourite studio session was an album we did in Sun in 24 hours straight. One take on everything, a maximum of two overdubs on everything and out with an album

The worst was when we prepared for six months recorded for a week in the studio and then mixed for six months... STUPID STUPID STUPID POINTLESS POINTLESS POINTLESS IT would probably have sounded the same if we'd mixed it in a weekend.

Also doing lots of gigs around the time we record and mix I've also found really useful. I don't buy the "gigging season" "recording season" thing people get locked into.

 

[Bad Intentions]

I could waffle on all day about recording but another thing occurs to me.
Doing as much as possible live is a good idea (for me anyway).
I HATED the times engineers insisted on spending two days doing bass and drums. Half the time the feel of the record gets all screwed up.

 

[Unclealo]

Recording is war

 

[RED(tape)MENACE]

I HATED the times engineers insisted on spending two days doing bass and drums. Half the time the feel of the record gets all screwed up.

Yeah, fuck that in the face. Seriously.