Hot answers tagged electric-guitar
9
It matters less if all parts are being played in tune and on time, but in multitrack recording scenarios, this is rarely the case, so the logic is thus:
Record drums first to give all other parts a temporal and metric reference.
Record bass next because it typically plays on strong metric pulses, and because harmony is grounded in the lowest note in the ...
7
Assuming you recorded your MIDI into MIDI clips (and weren't recording just the audio out from Kontakt), there certainly is!
Pitchbend messages are stored in clip envelopes, similar to other MIDI CC messages. Open your MIDI clip in clip view at the bottom, and click on the "e" in the lower left corner to bring up the Envelopes box. In the choosers there, ...
7
There is of course no set way of doing this, but a typical workflow would be :
-sort out the Click Track and tempo changes
-record scratch guitars(or whatever instrument needs to be present as a guide)
-record Drums
-delete scratch tracks, do all drum editing and comping
-record next most important rhythm instrument, bass, guitar or whatever.
-record ...
6
"Clear sound" is a property of the digital-to-audio converter ("DAC") and is mostly subjective. Brand reputation is helpful here, as are reviews.
Latency is measured in milliseconds. It is a combination of a number of factors - the sound card and drivers you're using, the hardware overhead (USB or firewire can add a couple of ms) the protocol used (ASIO, ...
6
In the studio I record my guitars directly in to Cubase or Guitar Rig with no distortion before the record chain. This way I can alter the effects precisely (I pop them in the effects loop) and is the way most studio work seems to go with other bands I know. If you do mic up your amps, you can get a very live sound, but it takes a lot of work to get it clean ...
5
Not with any old DI box. The signal going from the power amp section of your guitar amp, to your speaker cabinet, is HIGH POWER. Face-melting type of power. Most DI boxes cannot handle this kind of power and you will melt them in an instant trying to run them between your power amp and your speaker cabinet.
There is a notable exception: the Palmer PDI-09 ...
5
If you find getting a good mix difficult under live conditions, the problem might be stage volume. If the instruments are too loud on stage, it can become difficult to control the overall sound through the mains, because you are also fighting the sound that is coming off the stage.
I would try having the musicians dial back their stage amps a bit. I think ...
5
I assume you're talking about what I would call a lowpass filter sweep: a lowpass (hi-cut) filter starts out cutting out most of the signal, and gradually raises the cutoff frequency until the whole signal is heard.
I assume you're using some kind of DAW software like Reaper or Pro Tools or something like that. Generally, what you'll do is insert a lowpass ...
4
The best bang for your buck will be to make it yourself: buy a good brand of plugs (neutrik, switchcraft, etc) from Markertek or equivalent and use plain old 2-conductor AC extension cord for the cabling. Banana plugs or Speakon are preferable to 1/4" but not terribly common in guitar rigs.
Make the cable as short as possible, but not too short!
4
You might want to check out the Line 6 Pod Studio GX, which has nothing more than a guitar input and headphone out. The nice thing is that it comes with their PodFarm software which gives you some nice guitar effects that will work at low latency. I've got its predecessor the TonePort GX, and also the TonePort UX2 which has more inputs and outputs and ...
4
Given the new information you provided, my new suggestion is to thin out the synths. You can keep one as stereo (presumably you have some sort of pad sound that needs to stay stereo), but the rest of them should be mono, and you can scatter them throughout the sound field with pans. That should leave enough room for the guitar.
I didn't mention stereo ...
4
Dr. Mayhem has offered some very good solutions for 'direct in' recording however, I would like to add a note about live recording. Many guitarist especially blues players think of the electric guitar as only half of their tone, the other half being their amp. These folks spend hours having their vacuum tube amps tweaked for optimum bias of the power tubes ...
3
I used to get great results with the right type of side-chain compression. If the entrance of the guitar sound dims the synth sound just a bit (really, just a few dBs can make a huge difference) it will most likely solve your problem. Keep the attack time short, especially when the room you perform in is reverberant - so you deal appropriately with the ...
3
To make a recording without runnig in to any problems like latency and clips (unwanted sounds) your computer configration is also very important as your sound card. Real time recording needs lot of processing power. Which means you can start with core 2 duo 2.0 GHZ processor and 2 gb of ram and 7200 rpm harddisc. You can also use lower configration ...
3
Good directionality is important, so a cardioid or supercardioid pickup pattern - you don't want to be picking up spill or other instruments around the cab. Being a dynamic mic (as opposed to condenser) is a plus in some live scenarios, as you can hotswap should you have a problem with it or a cable without worrying about damaging any gear from phantom power ...
2
Do not go line in. Guitars have a really high impedance that is not compatible with the line in buffers on most desks and sound cards. If you have a built in DI on your desk or soundcard, chances are it's built with a really low quality transformer (if at all - using instead really really cheap op-amps without a transformer for the output - which is present ...
2
That example was helpful.
That sounds very much like the mix, less like the performance, to me. I hear an almost crystal echoes type reverb on that guitar, certainly there's a lot of reverb on it, and the dry signal is mixed very low in comparison to the reverb signal. It's a long reverb with a lot of high frequency content.
It could also be some synth ...
2
Great question. I offer custom drum tracks via online collaboration - so this question comes up a lot. The absolute best order (in my opinion) is to lay down scratch tracks first and foremost to get a feel of where the song is headed. Then record the drum tracks TO the scratch. From there, you can record your finals to the drum tracks.
2
When you read "no latency" it is actually referring to a monitoring feature where the analog inputs can be mapped to the analog outputs directly without going into your computer. If you are simply recording, this is fine. If you are playing with amp modeling or any other effects on your PC, then this feature doesn't matter to you.
All the cards built for ...
2
Try replacing the SM57 with a large diaphragm condenser microphone (such as a Neumann U89 or TLM 173), and play around with placement, directionality and volume. (I normally move the amp + mic to a separate room, and turn up the volume to a level that you shouldn't listen to using a human ear.) While a SM57 works fine in most situations, you could get a more ...
2
The only trouble you might have recording directly into the PC with either the instruments or microphones would be with low recording levels and excess noise due to the nature of the internal PC sound card. Also, you will want to use the line in (if it exists) for instruments rather than the mic input. If you are just recording the songs for your own ...
1
The easiest way is to use a 1/4"mono to 3.5mm stereo adaptor (guitar cable to headphone cable). This isn't hard to make (with some rudimentary soldering experience) from a cheap guitar cable and a pair of broken headphones (usually less than $20). Also, many cheap adaptors exist to downsize the 1/4" guitar plug to a 3.5mm headphone plug.
1
The one you have linked is an unbranded version of the one that Behringer sells. It's EXTREMELY noisy, especially with single coil pickups. It's also incredibly flimsy.
The lowest end interface that I would go with for guitar would be the Tascam US-100 if you need USB. It's around sixty or seventy dollars (US). It's the least expensive audio interface that ...
1
While you should use a cable designed for the job, this is not because using an instrument cable will damage speakers or the amp, but because an instrument cable is designed for low noise and low current, a speaker cable may have significant current going through it so needs to be able to cope with high power.
(Actually, I guess if the cable does melt, a ...
1
Acoustic guitar
There's no getting away from the fact that a good microphone costs a reasonable amount of money. For acoustic guitar and voice, a reasonable quality condenser microphone is what people recommend. $50 or so gets you a Behringer that'll do the job.
Professional mics have XLR connectors, and condenser mics need power - either from a battery or ...
1
The key item you need is a sound card - M-Audio do a very cost effective range that is good enough for gigging or studio recording. Their kit provides buffered inputs, low-latency ADAC and decent quality outputs.
This will give you inputs suitable for electric guitar, microphone etc. You won't need separate preamps etc if you have a suitable soundcard.
You ...
1
Short answer: get a Korg Sound on Sound.
There are two main routes to recording your guitars:
Acoustic recording
Direct input recording
Assuming your acoustic guitar doesn't have a built in pickup, you will need a microphone and some way to record that microphone. There are many different paths, but ultimately you are building a signal path that goes ...
1
@FriendOfGeorge's answer here is a good one; I might suggest that you consider a small mixer plus one of the Zoom H-series recorders as another option, especially if you plan on growing your studio.
They function nicely as USB audio interfaces in addition to being decent recorders; with the mixer, you have the option of picking something with as many inputs ...
1
I absolutely recommend the Alnico/Ceramic mix. I have an Orange AD-30R with a pair of Scumnico's and an extension cabinet with some Scumback Ceramic H75's and they mix phenomenally. The alnico's are creamy and rich while the ceramics are hot and ballsy. However, we are talking about a vintage amplifier here, and lots of very important things should be ...
1
Does the Fender Bassman have a speaker out connector? Otherwise, you might want to consider soldering a speaker out which breaks the connection to the internal speakers.
Then you can build a separate cabinet for the new speakers and have an almost non-destructive mod which you can customize endlessly with additional speaker combos down the road.
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