I’m a real fan of the “less is more” philosophy and try my best not to use too many tracks for a single instrument. However, when recording an electric guitar, sometimes a single mic in front of the amp isn’t enough to capture the “real” sound of the guitar.
If despite all your efforts, you can’t find the ideal placement/mic combination to get the sound you have in mind, you might want to consider adding a second mic to complement the first one. Do note that the most important word in that sentence is “complement.”
Read more about this here: https://en.audiofanzine.com/recording-mixing/editorial/articles/recording-electric-guitar-combining-several-mics.html
Archives for January 2019
6 Recording Myths — Busted!
Before, if you wanted to learn how to record, you have to learn from a pro, a school, or by trial and error. Thanks to the Internet, there’s a ton of information out there. Much of it is accurate and helpful, but not all.
Myth 1 – You can’t use ribbon mics on loud sources. It’s true that the actual ribbon element can be more fragile than the diaphragm of a moving coil or condenser microphone. In the early days of ribbon mics, those classic RCA mics would fail readily if you tried to use them on a screaming guitar amp or a kick drum.
Read more about this here: https://www.sweetwater.com/insync/6-recording-myths-busted/
7 Reverb Mistakes
Today you’ll learn 7 reverb mistakes that I have made in the past and by sharing my experiences I want to help you avoid these mistakes and stop you from wasting time figuring them out yourself.
The first mistake is not EQing the reverb. I’ve got reverb on the vocals already, but everything else is dry. Let’s start by adding some reverb to the guitar. So, we create a new buss and we’re going to call this Reverb and give it the same color as the others. Apply the reverb to this buss instead of just directly to the channel.
Read more about this here: https://www.musicianonamission.com/7-reverb-mistakes/
The 3 Building Blocks Of Acoustic Treatment
Soundproofing the space where you have your recording gear set up can be an expensive and time-consuming proposition. Treating the acoustics of your room luckily can be quite the opposite. It’s not that expensive and can be done in only a matter of hours.
Acoustic treatment for your room is built around three main components: acoustic panels, bass traps, and diffusers. Acoustic panels are the major way that reflections are kept from bouncing around the room. You can think of an acoustic panel as a very large picture frame that has sound absorbing material inside instead of a picture.
Read more about this here: https://bobbyowsinskiblog.com/2019/01/23/acoustic-treatment/
Gear of the Year 2018: Best Software Effect/Utility
The winner of last year’s Gear of the Year award goes to the iZotope Ozone 8. This software utility gives masters and other post-production professionals the ability to create a more polished and refined sound out of any completed track. This particular model offers various compression settings so that every platform that listeners experience your music on will provide a customized sound that is as professional as possible. It can be purchased at just £389 through iZotope.
Key Takeaways:
- The winner of the 2018 software utility is the iZotope Ozone 8 with its perfect EQ levels paired with the limiting and compression.
- At only £149, the FabFilter Pro-L 2 is quite diverse with over eight different algorithms for users to choose from.
- The FabFilter Pro-L 2 is also the most commended for those who work in post-production and mastering tracks after completion.
“The trouble is – and it’s quite a bit of trouble in 2018 – that you are no longer mastering for the best quality to play on the radio.”
Read more: https://www.musictech.net/2018/12/gear-of-the-year-2018-best-software-effect-utility/