Miscellaneous > Recording - Studio Talk
tips for polishing guitar recordings (hopefully on video)
El Chiguete:
Hello so after last week first attept on recording myself playing one thing is sure and that is that my recording sounds too raw and not polished AT ALL compared to other peoples playing on youtube, so I was wondering does anyone know of videos that can show me how to get a "better recording"? I'm sorry but I'm too much of a newbie to understand half of what rnolan talks when he is making sugestions on EQ and other stuff and what I get I get lost on how to actually implement that on what I'm doing... so a good video on this will help a lot because I will see what he is talking about in the recording and what he is doing in the DAW, mixer, etc.
BTW the reason why I'm starting this is because I just saw this video in the Kramer forum and I wish I could record myself sounding like this!!!
https://www.youtube.com/watch?v=yi1iHDdE964
I kown that that vídeo probably has some post recording work done but i've seen other youtube videos that the "supposibly" are direct to the DAW with nothing added after the recording that Sound really good too!
Systematic Chaos:
I'm a big fan of Ola Englund´s YT-channel....check these out:
Also, try doing your guitar track as 4 tracks, panned 100L-100R and 70L-70R
rnolan:
Hey El, sorry if I confuse you in any way, just ask if I can explain it better :wave: Please never be embarrassed about "raw" your tones were really good (well I really liked them). And hey, happy to help you through the process of makng a recording like the link (he's very good and great sound but IMO doable for you (given your clips so far)). I'm not across any video "how to" clips but I can talk you through it from audio engineering and guitar perspective. You've already done some of the journey.
Ok first hurdle, backing track (need to make one, not play with a canned track ?, but use one to start ?)
The biggest "sonic" difference between your tone(s) and his was/is the FX, he's running quite a bit of (in time with the beat) delay and reverb.
El Chiguete:
What I think is strange is that you either find videos on youtube on how to do/record extreme metal tones or clean/blues tones but there isnt a video on how to do classic metal recordings... anyway I think I will try now to back off the mic a bit, I only tested with the mic right in the grill, so I will test the mic backing it up 2 inches at a time untill 12 inches. Lets see how it goes.
Also yeha I recorded with no delay or reverb on my demos, I have to add those on my effects processor (not in the DAW!) and see how that goes for instrumental tracks... and also my guitar with the one piece maple neck is more bright for sure than the one on the link I posted.
DaveM:
"Good" tone is sooooo subjective.
I record all of my guitars with either an SM-57 or a Sennheiser e609. Even though the the 57 is ancient by today's standards, it's still a damn good microphone in my book.
I have an old Genz Benz 112 loaded with a V30, with the speaker grill removed so i'm not restrained by a grill cloth.
Learning to use microphones with a cab is an art in itself. You have to find the sweet spot using YOUR ears. I would recommend starting at the seam where the dustcap meets the cone, and work sideways towards the outer edge. I would probably also start with the tip of the microphone about 6" away from the speaker.
The tone in that track you referenced was a bit polished, but not overdone by any means. A touch of reverb and some compression can really sweeten up lead tones. In your DAW, you could also cut/paste the lead track into another track, then pan each one 5 degrees to the left and right. Then put a VERY short delay (say 5ms) on one of them to fatten it up a bit. Though I prefer to use outboard gear for effects, it's probably best to record dry and use what you have in your DAW....so you don't have to keep re-recording stuff.
For rock/metal rhythm tracks, I agree with SC above in that it's best to have four separate rhythm tracks, each one recorded separately. For distorted rhythm tracks to retain their "punch", I put the microphone extremely close to the the seam, usually 2" away.
Close miking creates a very "fat" waveform in my DAW. I'm a firm believer in "subtractive equalization", as I feel it's easier to subdue "unruly" frequencies vice attempting to boost something that was never there in the first place.
It all starts with that relationship between the mike and the speaker, so make sure you create a nice healthy waveform to work with.....
...just my two cents.
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