TheFintastics wrote:

Samurai wrote:

yep, a lot of things to learn!

For what it's worth, the Audio-Technica E609 guitar cabinet mic is an industry standard at a lot of live music venues in the USA that provide a PA for bands. I have one and always get a big thumbs up from sound guys when I bring it with me. Only $99 US dollars.

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It’s not the first recommendation for this mic from my friends! But I think it’s Sennheiser)

Waikiki Makaki surf-rock band from Ukraine

https://linktr.ee/waikikimakaki

Lost Diver

https://lostdiver.bandcamp.com
https://soundcloud.com/vitaly-yakushin

Samurai wrote:

Do you guys wanna a good laugh? I’ve just found out that cardoid mic has front and back. And his back side was facing the cabinet)

Good one! Now you need to let us know how it sounds facing the right way.

We could probably start a whole thread on things people have goofed up over the years. My list would start with the Brownface Princeton amp I just built - got it all done and fired it up and had no sound coming out at all. Took me days to realize I left out one crucial resistor in the bias circuit...

futureboy wrote:

Maybe an SM57 or Ribbon mic would be good to try out if you have access to them. I assume some things are scarce in your part of the world.

I’d probably reach for a 57 in this scenario, too

Samurai wrote:

So, coming back to this question, as I said I reach pretty good results in recording two tracks at once, one goes from speaker simulated out and another from condenser mic that is placed some 3-4 inch from cab. Direct out gives some punchy and focused sound and mic gives some room and air, after some panning and balancing it sounds really nice. Now I mostly recored Palmer head with Blossom point and really love what I hear. I guess new tunes are coming in May!

Hope you will find this helpful, it seems to be a good way to record in a small room with limited gear options.

This is super helpful to me… thanks for posting all this stuff!

I’m confused as to why the Palmer and Blossom Point …. Is that so your recording doesn’t sound too “digital” or too clean sounding? Is it to give your guitar a more organic , verge of breakup sound?

Thanks again and I’m looking forward to your new tracks!

A little late to the party as you have already your EP out, and it sounds pretty good what I hear, so I presume you found your best means. But nevertheless, these methods I have been using for more than 3 years:

1. Guitar => Surfy Bear (SB) => tremolo and whatever other effect I want to use => Brownfacer => Stereo Maker => into my Audio Box iTwo and from there to my Studio One console.

2. Guitar => SB => whatever effect I else would want to use => Bandmaster => 2 microphones, one for each speaker => into the Audiobox iTwo it goes etc

3. (the most recent method) Guitar => SB + effects => Quilter Superbox US => Brownfacer => Stereo Maker and into the audiobox it goes and from there to the Studio One console.

Note: in all methods, should I want to use my vibrato effect, I put this BEFORE the SB as I think it just sounds better if it does.

And on the Quilter I generally use the 1961 cabinet setting to make it sound "old". Sounding "old" is rather important to me as I only consider first wave and second wave up until the mid-80's as my surf influence. I skip the entire Pulp Fiction generation that comes after that. This is of course in combination with my much bigger European instrumental influences from the early 60's. Hence, sounding "old" is important.

The quilter in my opinion has drastically increased the quality of sound and I am glad I bought one. If I want to keep the neighbors happy, I cannot record through the Bandmaster in the middle of the night, so I wanted to have a good amp sound if I only record with headphones as output.

I am happy with all three methods, although I have to say that any parts played over the Bandmaster sound thinner than when played through the other methods. But I can fix that by putting my octaver in the chain, which on very low settings, thickens the sound just enough. I mix these methods freely, number 2 of course only during daytime. I then mix the recordings in such a way I hope no one will hear the difference between the methods. Mastering is then done by a member of the Terrorsurfs who in my opinion is one of the two best mastering engineers for surf music.

Cheers.

Albums:
_Introducing; Impala '59; An Evening with; Herr Magnatech Bittet Zum Tanz; Europa

Changing label.

https://magnatech.bandcamp.com
https://www.facebook.com/magnatechmusic
https://www.magnatech-music.com

Last edited: May 06, 2023 18:54:18

Samurai wrote:

That’s very interesting, thanx! But why Browfacer after Quilter, I thought it is made to be before amp?

Yes, it indeed is, but it doesn't make that super big difference because the Audiobox serves as receiving and outputting device that sends stuff to your DAW. In my case it's also more of a practicality thing, because of the space I have on my Gator Case, but I suppose I could try to change it some day.

Cheers.

Albums:
_Introducing; Impala '59; An Evening with; Herr Magnatech Bittet Zum Tanz; Europa

Changing label.

https://magnatech.bandcamp.com
https://www.facebook.com/magnatechmusic
https://www.magnatech-music.com

Samurai wrote:

Got it! My chain is even more simple, guitar - pedalboard - blossom point - surfybear - amp - focusrite solo - macbook but I love the results.

And that's the most important thing! In spite of some frowning upon these methods, what counts is that the sound is good. And: if it weren't good, I wouldn't have been able to record 4 reasonably well selling albums with it ;)

Albums:
_Introducing; Impala '59; An Evening with; Herr Magnatech Bittet Zum Tanz; Europa

Changing label.

https://magnatech.bandcamp.com
https://www.facebook.com/magnatechmusic
https://www.magnatech-music.com

Last edited: May 07, 2023 06:11:32