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Post your guitar recording setups

MagRick

Member
Messages
1,560
I'm struggling with recording a decent sound. Maybe if i see your setups I'll get an idea.

Please mention your DAW and audio interface too,
 

jwalker99

Member
Messages
100
Any Guitar into a reasonableness quality amp into Universal Audio OX, into Apollo X6, into Logic
 

Kurt L

Member
Messages
5,120
I’m using a Focusrite Saffire Pro 40 into a Mac running Adobe Audition. I also use GarageBand as a loop editor. Monitor through a pair of Genelec 8030Bs.

Nothing too fancy but solid gear.

I recently sold a bunch of stuff and picked up an Axe-FX III. I think it’ll be a while before I mic an amp again, though I love my amps. But the Fractal is going to demand some time to get the most out of it.

When I do mic my amps, again nothing too fancy. SM-57, RE-20 or AKG C-3000... if I wanna get weird sometimes I’ll use an omni lavalier as a room mic. (Was an experiment clipped to the far wall.)
 

RevDrucifer

Member
Messages
835
AxeFX III straight into my iMac via USB and into Logic. I also have a Focusrite Scarlett Solo I use for vocals and also used it to mic a cab before I went to the AxeFX.

I certainly don’t miss mic’ing a cab though. I’d spend an hour getting it perfect only to have a dog or cat come in and bump into it. I used to keep the cab behind me and under some U-haul blankets, I was tracking one day and heard this crazy sound coming from the headphones, like someone was moving the mic back and forth, damn cat was playing with the XLR cable under the blankets.

Always just used an SM57 and/or a Seinheiser 609. 1” away from the grill, middle of the speaker right where the cone meets the cap, as close to 50/50 as I could get. No matter what cab/speaker/mic, that’s always been my favorite spot.
 
Messages
1,085
I'm struggling with recording a decent sound. Maybe if i see your setups I'll get an idea.

Please mention your DAW and audio interface too,
My recording setup is as follows:

JDK R20 Mic pre > Apogee Rosetta 200 > 2010 8-core Mac Pro > Pro Tools 11... All of that is monitored via Radial MC-3 into Adam A7's.

There are a couple things to getting a good guitar sound. The obvious is mic choice and placement. A lot of people love the Shure SM57 + Royer 121 combo, but you can still get great sounds out of just a SM57 (the Royer is moderately expensive). I have my best luck with a SM57 by putting it exactly perpendicular to the grill cloth, and the edge of the mic is lined up with the edge of the dust cap. I get it as close to the cloth without touching.

The next is TOO MUCH GAIN can create an uninspiring guitar tone. Less is more with recording guitar. A decent crunch comes across as high gain after you double it and lay down a bass track. The more gain you have the lower in the mix the guitar needs to go. The less gain you have the more percussive and dynamic the guitar is.

There are solutions to the mic problem most people have. A load box + IR will get you 95% there to an actual mic'd cabinet. Popular ones here are the OX, Suhr, Boss TAE, and Two Notes Captor. The captor being the cheapest solution, and I recommend just buying some celestion+ IR's and using the Lancaster Audio IR loader instead of the Two Notes software. That way you just get a solid plug & play sound as opposed to finicking with digital 'mic placement'.
 

bdm

Silver Supporting Member
Messages
3,472
90% of the time for me these days it’s either a Supro Black Magick or Carr Telstar into the UA Ox.

UA interface into a Mac running Logic.
 

JosephZdyrski

Member
Messages
3,475
My set up won’t help you.... I simply record into my phone and play any backing tracks on my tv ... I hope the levels are right... if not I simply record again and I don’t edit anything if I mess up I also record again...start over from the top. Basically I make it as hard as possible and I NEVER allow myself to edit sound because again I want to make my guitar journey as hard as possible.

My sound isn’t the best but this method of recording is sharpening my actual guitar and musical skills like nothing else.
 

Simto

Member
Messages
4,509
Quick idea / silent jam / direct:
Guitar directly into soundcard (Old Mbox mini 2 in my bedroom) Pro Tools 12 using the Cory Wong Archetype plugin for sound. Sounds great for clean stuff. the Neural DSP archetype plugins sound great and you can demo them for two weeks.

Load box recording for gainy or silent recording stuff.
Guitar/board/amp into Suhr Reactive Load, line out into the old mbox mini 2, into Pro tools 12 with MixIR2 where I have Celestion IR's loaded up to match my real cabs for my amps (I found the Celestion IR's to be the best sounding to my ears) and some eq/reverb.
I prefer doing gainy stuff with a load box because I mostly get better results with that and I can run my amps hotter.

Mic'ed up.
I have another computer set up in my music room in the basement where I can record with a mic. I only use it to record the raw footage from the mic, then I bring it to my bedroom computer (which has more horsepower) to mix and all that.
I find clean tones in particular, but also light crunch/drive to sound way better when miced up and not doing any IR, load box or plugin stuff. It just sounds better to my ears.
It's just a 57 (sometimes also a room mic) into a Scarlett 2i2 1st gen, into pro tools 12.

General tip for mixing guitars and making them sound better:
One of the best mixing things I do to make guitars sound better, less dead or more "real" is to have a stereo aux bus with a mild room reverb on that I send all guitars through.
It's essentially a stereo room so no matter where you pan the individual guitar track, you will always have it sound like it's "in the same room as all the other instruments".
It's a very subtle effect, but it adds so much life to the guitar tracks and I can't recommend enough you try this out before experimenting too much with other stuff.

Also high pass filter your guitar tracks to leave room in the low end for stuff that needs it and I like cutting a liiittle bit at 250hz because I hate mud and mud lives there.
Some times a subtle low pass filter or taming specific frequencies in the higher end on high gain guitars can make a huge difference.
Subtle changes make a huge difference.
 
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Defendant

Member
Messages
6,522
Path one:

Guitar - Pedalboard - 66 Showman/Brunetti Pleximan/Victoria Double Deluxe - UAD OX - UAD Apollo - Logic

Path two:

Guitar - Pedalboard - UAD Apollo - Logic running Line 6 Helix native and Mercuriall Euphoria, IRs by Warren Huart (produce like a pro) and UAD Ocean way studios for room sound.
 

Emigre

Member
Messages
4,081
My set up won’t help you.... I simply record into my phone and play any backing tracks on my tv ... I hope the levels are right... if not I simply record again and I don’t edit anything if I mess up I also record again...start over from the top. Basically I make it as hard as possible and I NEVER allow myself to edit sound because again I want to make my guitar journey as hard as possible.

My sound isn’t the best but this method of recording is sharpening my actual guitar and musical skills like nothing else.
I like my sound to be tops but I also never edit sound. If I don’t get it to sound right, I play it again from the top.

I really respect how uncompromising you are in your approach though, not just tonally but also creatively.
 

Emigre

Member
Messages
4,081
I’m not seriously recording electric yet, I’ll start once I get over my current classical kick but my setup will be Kemper -> Audiofuse -> Logic.

Will it chug? We’ll find out soon enough :p

Edit: At all times I keep DAW fiddling to a minimum. My sound comes from the Kemper (or the mic) and gets printed as-is. Maybe mix with some eq if I’m feeling terribly geeky.
 

Jayyj

Silver Supporting Member
Messages
8,859
This is my set up. Typically I run the pedal board direct into the desk and put my arrangements together then I re-amp once I'm happy with the part. If I really want to feel the air move I can run into an amp and I keep a mic set up I can hook up in minutes, but often in terms of work process I take a whole thrashing out parts and I don't like to feel I'm annoying the neighbours, so I work better if I'm not stressing about that than with the slightly better sound of going through the amp.

The recording set up I use is a Soundcraft MTK desk with usb for each channel into a Mac Mini running Logic.

Amp wise I generally use old AKG190s for close miking, generally towards the edge of the cone, then a Neumann LDC a meter or so back.

The nice thing about re-amping is I can throw the signal through a few amps and see what sounds best for the track at a point where the track is more or less fully formed. My default amp is a Princeton but I have a Supro set up to go, an old Selmer and a Vox AC4 that can be set up in a few minutes. I also have some cool outboard, a Roland Space Echo and various bits and pieces like that which work great for re-amping. In reality lazy and don't use a re-amping box, just send the signal out of an aux buss on the Soundcraft and it works fine to my ears.

Couple of photos of the set up:

 

JosephZdyrski

Member
Messages
3,475
I like my sound to be tops but I also never edit sound. If I don’t get it to sound right, I play it again from the top.

I really respect how uncompromising you are in your approach though, not just tonally but also creatively.
Thanks... I think resisting that urge to edit is the key to really using recording as a way to sharpen one ability to record better or just deal with the pressure of playing on the spot. It’s not the same but at least it gets you closer simulating the pressure of actual stage performances, than knowing you can just edit or fade a clip. Plus for me it’s just more fun, and that’s the main thing that keeps me recording is the fact that I enjoy it.

Now don’t get me wrong I’d love to get a set up where I can get slightly better sound and still record this way. But the with covid and financial concerns, gear and recording upgrades are temporarily on hold, which is fine. But perhaps at some point in the future I’ll update recording setup, then I can post the same weird music, shot at the same awkward angles, but with slightly better sound :aok
 

I R P

Member
Messages
788
I plug my board into a GFI Cabzeus Stereo and then into a Focusrite Scarlett 2i4 and record with Audacity. Super simple.
 
Messages
437
Fender Am. Pro Tele with Fender Nocaster '51 pickups, Mogami Gold 10ft cable, MOTU M2 audio interface, MacBook Air with M1 processor, Logic Pro (running under Rosetta for now so that I can use the yet to be updated Helix Native plugin).
 

prototype

Silver Supporting Member
Messages
3,832
was micing amps with a 57 or sennheiser 835 for years and it was a great, simple sound, but two notes and wall of sound has really made basic mic'ing setups obsolete. yeah if you have great vintage speakers and high end mics with great pres, it makes sense to continue to mic. for 99% of recording applications i think the two notes system with IRs does the job better, and you can tweak the IRs in post a lot easier. keep the speakers on for tracking if you can stand the volume, but use the dry amp-out into two notes into IRs for the actual recording track. you can mic the speakers and compare - to me every time i have the IRs have won out just by being more versatile and easy to use. i would bet money that seasoned ears cannot tell the difference between a properly mic'd speaker and a proper IR on a recording even A/Bd, let alone in a mix.
 
Messages
477
For home recording, i have a few low wattage tube amps and the usual shure 57s, 58s and general budget mics. I track on tape (tascam cassette or reel to reel) and dump it to digital or i run into one of a few simple home brew pre-amps a friend made and run that into the computer interface.
I try to listen with my ears instead of focusing on the DAW (studio one or garage band) or the visual placement of the mic in proximity to the amp. Not everything needs to be a room sound and not everything needs to be close mic'd.
I try to put up two or 3 mics in various spots then in the mixing stage, i will make a decision as to which mic sits best in the mix.
I try to get my guitar sound totally dialed in in the room on the take so i'm not flipping through plugins or in-box effects.
I plan on the first pass at a whole song being a demo version because i will have learned something in the process of making it that might've helped when i started the session. Maybe that first version of the song was perfect, maybe the rhythm tracks can be reused as a framework for a new version of the song with new overdubs.
I make as many notes as possible, including getting the measuring tape out or the gaff tape and noting mic/amp placement, signal path etc.
 

poppunk

Member
Messages
933
Kemper Stage S/PDIF Out -> Focusrite 8i6 -> Logic Pro X

Track both effects input and DI. If reamping is desired, push DI recording back out of Focusrite S/PDIF into Kemper and back.

I never have to worry about consistency of levels/sound trying to match gain/output levels. I never have to try and mic something exactly the same (and don't have to worry about somebody kicking over the mic trying to leave it in place the same for long periods of time). I can use the "amp" in between recordings without messing up settings.
 




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