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i got a question for some of you surf guitarists, who
have recorded.
do you use compression? do you print with compression,
or add it in the mix.
what are your thresholds and ratios like ?
very curious, and still trying to completly understand
compression,
neal
As a recording engineer and mixer, I strongly suggest you NOT color the
source signal beyond your amp and reverb. It can't be undone. Your
playing style (variations in attack relative to the rest of the mix)
will determine whether compression adds to the mix or not. IMHO, there
are no "pat" answers.
Phil
--- "Neal S." <> wrote:
---------------------------------
i got a question for some of you surf guitarists, who
have recorded.
do you use compression? do you print with compression,
or add it in the mix.
what are your thresholds and ratios like ?
very curious, and still trying to completly understand
compression,
neal
.
Visit for archived
messages, bookmarks, files, polls, etc.
---------------------------------
YAHOO! GROUPS LINKS
Visit your group "SurfGuitar101" on the web.
To unsubscribe from this group, send an email to:
Your use of Yahoo! Groups is subject to the Yahoo! Terms of
Service.
---------------------------------
One thing you should talk about, and I don't know if I
have the technical acumen to describe it preoperly,
but the importance of (analog) tape compression during
recording. Basically, the more level you record with,
the more the peak signals compress until the tape hits
a saturation level where it sounds like crap. But,
until you hit that overload level, recording at
maximum level gives you the cleanest sound, and that
nice warm, desirable tape compression sound.
In this age of digital workstations, you just don't
have that option, when you hit 0, it goes
KKKKKKKKKKKKKKKKKKKKKKK. So there are plugins that try
and mimic the tape compression, but the ones I have
heard are bad imitations. Bands with loads of $ will
record their basic tracks to analog, then bounce them
over to Protools for overdubs and editing. When we
recorded our last CD, we recorded direct to Protools,
but used vintage tube mics and tube compressors (even
if there was no compression set) for every track to
get some of the analog warmth.
I think that if you are a fan of vintage surf music,
and you are trying to mimic the sound of the early
60s, you just, honestly, are not going to be able to
achieve it with digital recording, a small studio and
cheap mics. So, don't worry about it, and just make
the best recording you can with what you have got.
As far as recording your surf guitar with a
compressor, I wouldn't, as Phil said, if you need it
you can always add it later.
ferenc
--- Phil Dirt <> wrote:
> As a recording engineer and mixer, I strongly
> suggest you NOT color the
> source signal beyond your amp and reverb. It can't
> be undone. Your
> playing style (variations in attack relative to the
> rest of the mix)
> will determine whether compression adds to the mix
> or not. IMHO, there are no "pat" answers.
>
> Phil
__________________________________
Yahoo! Mail - PC Magazine Editors' Choice 2005
alright thanks phil, so basically i should get 'the
sound' before i record, and if i need compression, add
it later if at all.
even though i record up to about -3dB ( leaving some
headroom for EQ and other FX ), my guitar still sounds
like its being played in a tin can thats in a
woodshed, 300 yards back. and thats before i add
everything else, including other guitar parts and
guitar overdubs.
also im a digital recorder, with amp modelers (
currently berhinger mixer through NI guitar rig ) (
dont hate ! ) but i know ill never get the analogue
sound, but ive heard a ton of digital recordings, and
the guitars dont sound as far away as mine.
phil have you ever done digital ? or strictly analogue
? any insight ?
--- Phil Dirt <> wrote:
> As a recording engineer and mixer, I strongly
> suggest you NOT color the
> source signal beyond your amp and reverb. It can't
> be undone. Your
> playing style (variations in attack relative to the
> rest of the mix)
> will determine whether compression adds to the mix
> or not. IMHO, there
> are no "pat" answers.
>
> Phil
>
> --- "Neal S." <> wrote:
>
>
> ---------------------------------
> i got a question for some of you surf guitarists,
> who
> have recorded.
>
> do you use compression? do you print with
> compression,
> or add it in the mix.
>
> what are your thresholds and ratios like ?
>
> very curious, and still trying to completly
> understand
> compression,
>
>
> neal
>
>
> .
> Visit
> for archived
> messages, bookmarks, files, polls, etc.
>
>
>
>
> ---------------------------------
> YAHOO! GROUPS LINKS
>
>
> Visit your group "SurfGuitar101" on the web.
>
> To unsubscribe from this group, send an email
> to:
>
>
> Your use of Yahoo! Groups is subject to the
> Yahoo! Terms of
> Service.
>
>
> ---------------------------------
>
>
>
>
>
>
Ferenc, interesting. For the record im all digital.
Did you run your guitars through tube compressors (
with/without compression ) when you recorded ? or did
you do some kind of insert later ?
what kind of direct injenction did you use, and what
kind of tube compressor was it ?
sorry for the questions, but thats exactly the kinda
situation im interested in. also what cd was this that
you recorded direct to digital ?
im a big fan of 60s surf sound, but i know ill never
achieve til i get some "real" gear.
--- Ferenc Dobronyi <> wrote:
> One thing you should talk about, and I don't know if
> I
> have the technical acumen to describe it preoperly,
> but the importance of (analog) tape compression
> during
> recording. Basically, the more level you record
> with,
> the more the peak signals compress until the tape
> hits
> a saturation level where it sounds like crap. But,
> until you hit that overload level, recording at
> maximum level gives you the cleanest sound, and that
> nice warm, desirable tape compression sound.
> In this age of digital workstations, you just don't
> have that option, when you hit 0, it goes
> KKKKKKKKKKKKKKKKKKKKKKK. So there are plugins that
> try
> and mimic the tape compression, but the ones I have
> heard are bad imitations. Bands with loads of $ will
> record their basic tracks to analog, then bounce
> them
> over to Protools for overdubs and editing. When we
> recorded our last CD, we recorded direct to
> Protools,
> but used vintage tube mics and tube compressors
> (even
> if there was no compression set) for every track to
> get some of the analog warmth.
> I think that if you are a fan of vintage surf music,
> and you are trying to mimic the sound of the early
> 60s, you just, honestly, are not going to be able to
> achieve it with digital recording, a small studio
> and
> cheap mics. So, don't worry about it, and just make
> the best recording you can with what you have got.
> As far as recording your surf guitar with a
> compressor, I wouldn't, as Phil said, if you need it
> you can always add it later.
> ferenc
>
> --- Phil Dirt <> wrote:
>
> > As a recording engineer and mixer, I strongly
> > suggest you NOT color the
> > source signal beyond your amp and reverb. It can't
> > be undone. Your
> > playing style (variations in attack relative to
> the
> > rest of the mix)
> > will determine whether compression adds to the mix
> > or not. IMHO, there are no "pat" answers.
> >
> > Phil
>
>
>
>
> __________________________________
> Yahoo! Mail - PC Magazine Editors' Choice 2005
>
>
There are some "tricks" you can do, but without knowing what amp you
are using, it can get murky. Far away sound can have a number of
causes.
1) Far away mics... your mic should be only inches from the cone, and
should point at the center at about a 45 degree angle. This varies some
with the speakers, but an off-axis close-mic approach gives you the
beefiest sound without too much unintended percussion waves being
captured.
2) If you are unsing an analog mixing board, try feeding the signal (in
mixdown, not recording) post fader to a an additional channel, and a
third if need be. there's a peculiar thiong I accidently stumbled on in
analog (which I don't understand, but it seems to work about half the
time) where doubling up or triplling the signal seems to fatten it.
3) Lead guitar center with a moderate amount of stereo reverb added in
the mix. Reverb creates the illusion of loudness.
4) You simply may be too low in the mix.
5) EQ and compression on the track in mixdown can help sometimes too.
6) If all of that still leaves you sounding weak, perhaps you are not
playing with enough energy, or with too light a string gage.
7) Your amp is not urned up enough during recording
8) Try playing through the board instead of your ampo while you record,
and add all efects afterward (the Richard Podolor technique).
9) Perhaps your amp is not beefy enough (Marshall vs. Fender, for
instance). You need lots of solid bottom end for surf. Miyagi (Tiki
Tiki Bamboooos) plays lead through a Fender Bassman with 15" cones.
very beefy.
10) The engineer may have no idea about surf. It's a specialty that's
done differently than other genres. He may also not understand stereo
and hide your band's power in his ignorance. This is way too common. A
lot of low0budget studio guys were sound guys at cruddy little clubs
last week, and the doorman the week before. Even if they have
experience, if they came from live house work, they can often have no
idea about recording. Sound reinforcement is not similar at all.
You will want to experiment some at home before you waste a lot of
studio time, unless you're just cutting demos in a low-budget studio.
Phil
--- "Neal S." <> wrote:
---------------------------------
alright thanks phil, so basically i should get 'the
sound' before i record, and if i need compression, add
it later if at all.
even though i record up to about -3dB ( leaving some
headroom for EQ and other FX ), my guitar still sounds
like its being played in a tin can thats in a
woodshed, 300 yards back. and thats before i add
everything else, including other guitar parts and
guitar overdubs.
also im a digital recorder, with amp modelers (
currently berhinger mixer through NI guitar rig ) (
dont hate ! ) but i know ill never get the analogue
sound, but ive heard a ton of digital recordings, and
the guitars dont sound as far away as mine.
phil have you ever done digital ? or strictly analogue
? any insight ?
--- Phil Dirt <> wrote:
> As a recording engineer and mixer, I strongly
> suggest you NOT color the
> source signal beyond your amp and reverb. It can't
> be undone. Your
> playing style (variations in attack relative to the
> rest of the mix)
> will determine whether compression adds to the mix
> or not. IMHO, there
> are no "pat" answers.
>
> Phil
>
> --- "Neal S." <> wrote:
>
>
> ---------------------------------
> i got a question for some of you surf guitarists,
> who
> have recorded.
>
> do you use compression? do you print with
> compression,
> or add it in the mix.
>
> what are your thresholds and ratios like ?
>
> very curious, and still trying to completly
> understand
> compression,
>
>
> neal
>
>
> .
> Visit
> for archived
> messages, bookmarks, files, polls, etc.
>
>
>
>
> ---------------------------------
> YAHOO! GROUPS LINKS
>
>
> Visit your group "SurfGuitar101" on the web.
>
> To unsubscribe from this group, send an email
> to:
>
>
> Your use of Yahoo! Groups is subject to the
> Yahoo! Terms of
> Service.
>
>
> ---------------------------------
>
>
>
>
>
>
.
Visit for archived
messages, bookmarks, files, polls, etc.
---------------------------------
YAHOO! GROUPS LINKS
Visit your group "SurfGuitar101" on the web.
To unsubscribe from this group, send an email to:
Your use of Yahoo! Groups is subject to the Yahoo! Terms of
Service.
---------------------------------
thanks phil, i can try most of these, viturally of
course ! if i post some quick riffs of just guitar,
can you tell me how they compare to more professional
recordings and how you might go about adjusting them ?
--- Phil Dirt <> wrote:
> There are some "tricks" you can do, but without
> knowing what amp you
> are using, it can get murky. Far away sound can have
> a number of
> causes.
>
> 1) Far away mics... your mic should be only inches
> from the cone, and
> should point at the center at about a 45 degree
> angle. This varies some
> with the speakers, but an off-axis close-mic
> approach gives you the
> beefiest sound without too much unintended
> percussion waves being
> captured.
>
> 2) If you are unsing an analog mixing board, try
> feeding the signal (in
> mixdown, not recording) post fader to a an
> additional channel, and a
> third if need be. there's a peculiar thiong I
> accidently stumbled on in
> analog (which I don't understand, but it seems to
> work about half the
> time) where doubling up or triplling the signal
> seems to fatten it.
>
> 3) Lead guitar center with a moderate amount of
> stereo reverb added in
> the mix. Reverb creates the illusion of loudness.
>
> 4) You simply may be too low in the mix.
>
> 5) EQ and compression on the track in mixdown can
> help sometimes too.
>
> 6) If all of that still leaves you sounding weak,
> perhaps you are not
> playing with enough energy, or with too light a
> string gage.
>
> 7) Your amp is not urned up enough during recording
>
> 8) Try playing through the board instead of your
> ampo while you record,
> and add all efects afterward (the Richard Podolor
> technique).
>
> 9) Perhaps your amp is not beefy enough (Marshall
> vs. Fender, for
> instance). You need lots of solid bottom end for
> surf. Miyagi (Tiki
> Tiki Bamboooos) plays lead through a Fender Bassman
> with 15" cones.
> very beefy.
>
> 10) The engineer may have no idea about surf. It's a
> specialty that's
> done differently than other genres. He may also not
> understand stereo
> and hide your band's power in his ignorance. This is
> way too common. A
> lot of low0budget studio guys were sound guys at
> cruddy little clubs
> last week, and the doorman the week before. Even if
> they have
> experience, if they came from live house work, they
> can often have no
> idea about recording. Sound reinforcement is not
> similar at all.
>
> You will want to experiment some at home before you
> waste a lot of
> studio time, unless you're just cutting demos in a
> low-budget studio.
>
> Phil
>
> --- "Neal S." <> wrote:
>
>
> ---------------------------------
> alright thanks phil, so basically i should get 'the
> sound' before i record, and if i need compression,
> add
> it later if at all.
>
> even though i record up to about -3dB ( leaving some
> headroom for EQ and other FX ), my guitar still
> sounds
> like its being played in a tin can thats in a
> woodshed, 300 yards back. and thats before i add
> everything else, including other guitar parts and
> guitar overdubs.
>
> also im a digital recorder, with amp modelers (
> currently berhinger mixer through NI guitar rig ) (
> dont hate ! ) but i know ill never get the analogue
> sound, but ive heard a ton of digital recordings,
> and
> the guitars dont sound as far away as mine.
>
> phil have you ever done digital ? or strictly
> analogue
> ? any insight ?
>
>
>
> --- Phil Dirt <> wrote:
>
> > As a recording engineer and mixer, I strongly
> > suggest you NOT color the
> > source signal beyond your amp and reverb. It can't
> > be undone. Your
> > playing style (variations in attack relative to
> the
> > rest of the mix)
> > will determine whether compression adds to the mix
> > or not. IMHO, there
> > are no "pat" answers.
> >
> > Phil
> >
> > --- "Neal S." <> wrote:
> >
> >
> > ---------------------------------
> > i got a question for some of you surf guitarists,
> > who
> > have recorded.
> >
> > do you use compression? do you print with
> > compression,
> > or add it in the mix.
> >
> > what are your thresholds and ratios like ?
> >
> > very curious, and still trying to completly
> > understand
> > compression,
> >
> >
> > neal
> >
> >
> > .
> > Visit
> > for archived
> > messages, bookmarks, files, polls, etc.
> >
> >
> >
> >
> > ---------------------------------
> > YAHOO! GROUPS LINKS
> >
> >
> > Visit your group "SurfGuitar101" on the web.
> >
> > To unsubscribe from this group, send an email
> > to:
> >
> >
> > Your use of Yahoo! Groups is subject to the
> > Yahoo! Terms of
> > Service.
> >
> >
> > ---------------------------------
> >
> >
> >
> >
> >
> >
>
>
>
> .
> Visit
> for archived
> messages, bookmarks, files, polls, etc.
>
>
>
>
> ---------------------------------
> YAHOO! GROUPS LINKS
>
>
> Visit your group "SurfGuitar101" on the web.
>
> To unsubscribe from this group, send an email
> to:
>
>
> Your use of Yahoo! Groups is subject to the
> Yahoo! Terms of
> Service.
>
>
> ---------------------------------
>
>
>
>
>
>
First, some more thoughts on compression-
It was and is not unusual for an engineer to use
compression while mixing, then compress the final mix,
then for the mastering engineer to compress it some
more (and let's not even talk about the RIAA
curve...). And, of course, the radio staion is going
to compress it again for broadcast. Ack, so much for
dynamic range.
For the record, the album I am talking about is Pollo
Del Mar's 2004 CD, The Golden State. When recording,
all the tracks went through tube pre-amps which were
cannabalized from a 70's Neve console. The pre-amps do
not compress, but they do color the sound. We used a
lot of different mics, but all were vintage tube,
condensor and a few ribbons, and probably the old
standby a 57 on the snare. We recorded in a big
studio, and used lots of ambient mics, the room
sounded so good, we used no additional reverb on the
drums at all.
And one last word about mics... everybody has a 57, it
is a cheap and very useful mic. But, it has a distinct
frequency range. So when you record all your tracks
with a 57, either by using many 57s while recording a
live band, or by using the same 57 while overdubbing,
your entire recording will be squeezed through the
limited frequency range of the 57. The 57 becomes a
kind of set EQ filter. So, try and use as many
different mics as you can to get a fuller frequency
range.
Ferenc
--- "Neal S." <> wrote:
> Ferenc, interesting. For the record im all digital.
> Did you run your guitars through tube compressors (
> with/without compression ) when you recorded ? or
> did
> you do some kind of insert later ?
>
> what kind of direct injenction did you use, and what
> kind of tube compressor was it ?
>
> sorry for the questions, but thats exactly the kinda
> situation im interested in. also what cd was this
> that
> you recorded direct to digital ?
>
> im a big fan of 60s surf sound, but i know ill never
> achieve til i get some "real" gear.
>
> --- Ferenc Dobronyi <> wrote:
>
> > One thing you should talk about, and I don't know
> if
> > I
> > have the technical acumen to describe it
> preoperly,
> > but the importance of (analog) tape compression
> > during
> > recording. Basically, the more level you record
> > with,
> > the more the peak signals compress until the tape
> > hits
> > a saturation level where it sounds like crap. But,
> > until you hit that overload level, recording at
> > maximum level gives you the cleanest sound, and
> that
> > nice warm, desirable tape compression sound.
> > In this age of digital workstations, you just
> don't
> > have that option, when you hit 0, it goes
> > KKKKKKKKKKKKKKKKKKKKKKK. So there are plugins that
> > try
> > and mimic the tape compression, but the ones I
> have
> > heard are bad imitations. Bands with loads of $
> will
> > record their basic tracks to analog, then bounce
> > them
> > over to Protools for overdubs and editing. When we
> > recorded our last CD, we recorded direct to
> > Protools,
> > but used vintage tube mics and tube compressors
> > (even
> > if there was no compression set) for every track
> to
> > get some of the analog warmth.
> > I think that if you are a fan of vintage surf
> music,
> > and you are trying to mimic the sound of the early
> > 60s, you just, honestly, are not going to be able
> to
> > achieve it with digital recording, a small studio
> > and
> > cheap mics. So, don't worry about it, and just
> make
> > the best recording you can with what you have got.
> > As far as recording your surf guitar with a
> > compressor, I wouldn't, as Phil said, if you need
> it
> > you can always add it later.
> > ferenc
__________________________________
Yahoo! Music Unlimited
Access over 1 million songs. Try it free.
Ferenc:
Excellent point re: using too many (or only) SM 57's!
I think I might go looking on ebay for a cool old
ElectroVoice mic and see how that affects my mixology.
Also, I can pull out my old Realistic mics and give them a
shot with my current setup
thanks again for that helpful nugget of recording advice!
-dp
--- Ferenc Dobronyi <> wrote:
> First, some more thoughts on compression-
> It was and is not unusual for an engineer to use
> compression while mixing, then compress the final mix,
> then for the mastering engineer to compress it some
> more (and let's not even talk about the RIAA
> curve...). And, of course, the radio staion is going
> to compress it again for broadcast. Ack, so much for
> dynamic range.
> For the record, the album I am talking about is Pollo
> Del Mar's 2004 CD, The Golden State. When recording,
> all the tracks went through tube pre-amps which were
> cannabalized from a 70's Neve console. The pre-amps do
> not compress, but they do color the sound. We used a
> lot of different mics, but all were vintage tube,
> condensor and a few ribbons, and probably the old
> standby a 57 on the snare. We recorded in a big
> studio, and used lots of ambient mics, the room
> sounded so good, we used no additional reverb on the
> drums at all.
> And one last word about mics... everybody has a 57, it
> is a cheap and very useful mic. But, it has a distinct
> frequency range. So when you record all your tracks
> with a 57, either by using many 57s while recording a
> live band, or by using the same 57 while overdubbing,
> your entire recording will be squeezed through the
> limited frequency range of the 57. The 57 becomes a
> kind of set EQ filter. So, try and use as many
> different mics as you can to get a fuller frequency
> range.
> Ferenc
>
>
> --- "Neal S." <> wrote:
>
> > Ferenc, interesting. For the record im all digital.
> > Did you run your guitars through tube compressors (
> > with/without compression ) when you recorded ? or
> > did
> > you do some kind of insert later ?
> >
> > what kind of direct injenction did you use, and what
> > kind of tube compressor was it ?
> >
> > sorry for the questions, but thats exactly the kinda
> > situation im interested in. also what cd was this
> > that
> > you recorded direct to digital ?
> >
> > im a big fan of 60s surf sound, but i know ill never
> > achieve til i get some "real" gear.
> >
> > --- Ferenc Dobronyi <> wrote:
> >
> > > One thing you should talk about, and I don't know
> > if
> > > I
> > > have the technical acumen to describe it
> > preoperly,
> > > but the importance of (analog) tape compression
> > > during
> > > recording. Basically, the more level you record
> > > with,
> > > the more the peak signals compress until the tape
> > > hits
> > > a saturation level where it sounds like crap. But,
> > > until you hit that overload level, recording at
> > > maximum level gives you the cleanest sound, and
> > that
> > > nice warm, desirable tape compression sound.
> > > In this age of digital workstations, you just
> > don't
> > > have that option, when you hit 0, it goes
> > > KKKKKKKKKKKKKKKKKKKKKKK. So there are plugins that
> > > try
> > > and mimic the tape compression, but the ones I
> > have
> > > heard are bad imitations. Bands with loads of $
> > will
> > > record their basic tracks to analog, then bounce
> > > them
> > > over to Protools for overdubs and editing. When we
> > > recorded our last CD, we recorded direct to
> > > Protools,
> > > but used vintage tube mics and tube compressors
> > > (even
> > > if there was no compression set) for every track
> > to
> > > get some of the analog warmth.
> > > I think that if you are a fan of vintage surf
> > music,
> > > and you are trying to mimic the sound of the early
> > > 60s, you just, honestly, are not going to be able
> > to
> > > achieve it with digital recording, a small studio
> > > and
> > > cheap mics. So, don't worry about it, and just
> > make
> > > the best recording you can with what you have got.
> > > As far as recording your surf guitar with a
> > > compressor, I wouldn't, as Phil said, if you need
> > it
> > > you can always add it later.
> > > ferenc
>
>
>
>
> __________________________________
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>
>
>
>
__________________________________
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Access over 1 million songs. Try it free.
that's novel - let's try it.
--- "Neal S." <> wrote:
---------------------------------
thanks phil, i can try most of these, viturally of
course ! if i post some quick riffs of just guitar,
can you tell me how they compare to more professional
recordings and how you might go about adjusting them ?
--- Phil Dirt <> wrote:
> There are some "tricks" you can do, but without
> knowing what amp you
> are using, it can get murky. Far away sound can have
> a number of
> causes.
>
> 1) Far away mics... your mic should be only inches
> from the cone, and
> should point at the center at about a 45 degree
> angle. This varies some
> with the speakers, but an off-axis close-mic
> approach gives you the
> beefiest sound without too much unintended
> percussion waves being
> captured.
>
> 2) If you are unsing an analog mixing board, try
> feeding the signal (in
> mixdown, not recording) post fader to a an
> additional channel, and a
> third if need be. there's a peculiar thiong I
> accidently stumbled on in
> analog (which I don't understand, but it seems to
> work about half the
> time) where doubling up or triplling the signal
> seems to fatten it.
>
> 3) Lead guitar center with a moderate amount of
> stereo reverb added in
> the mix. Reverb creates the illusion of loudness.
>
> 4) You simply may be too low in the mix.
>
> 5) EQ and compression on the track in mixdown can
> help sometimes too.
>
> 6) If all of that still leaves you sounding weak,
> perhaps you are not
> playing with enough energy, or with too light a
> string gage.
>
> 7) Your amp is not urned up enough during recording
>
> 8) Try playing through the board instead of your
> ampo while you record,
> and add all efects afterward (the Richard Podolor
> technique).
>
> 9) Perhaps your amp is not beefy enough (Marshall
> vs. Fender, for
> instance). You need lots of solid bottom end for
> surf. Miyagi (Tiki
> Tiki Bamboooos) plays lead through a Fender Bassman
> with 15" cones.
> very beefy.
>
> 10) The engineer may have no idea about surf. It's a
> specialty that's
> done differently than other genres. He may also not
> understand stereo
> and hide your band's power in his ignorance. This is
> way too common. A
> lot of low0budget studio guys were sound guys at
> cruddy little clubs
> last week, and the doorman the week before. Even if
> they have
> experience, if they came from live house work, they
> can often have no
> idea about recording. Sound reinforcement is not
> similar at all.
>
> You will want to experiment some at home before you
> waste a lot of
> studio time, unless you're just cutting demos in a
> low-budget studio.
>
> Phil
>
> --- "Neal S." <> wrote:
>
>
> ---------------------------------
> alright thanks phil, so basically i should get 'the
> sound' before i record, and if i need compression,
> add
> it later if at all.
>
> even though i record up to about -3dB ( leaving some
> headroom for EQ and other FX ), my guitar still
> sounds
> like its being played in a tin can thats in a
> woodshed, 300 yards back. and thats before i add
> everything else, including other guitar parts and
> guitar overdubs.
>
> also im a digital recorder, with amp modelers (
> currently berhinger mixer through NI guitar rig ) (
> dont hate ! ) but i know ill never get the analogue
> sound, but ive heard a ton of digital recordings,
> and
> the guitars dont sound as far away as mine.
>
> phil have you ever done digital ? or strictly
> analogue
> ? any insight ?
>
>
>
> --- Phil Dirt <> wrote:
>
> > As a recording engineer and mixer, I strongly
> > suggest you NOT color the
> > source signal beyond your amp and reverb. It can't
> > be undone. Your
> > playing style (variations in attack relative to
> the
> > rest of the mix)
> > will determine whether compression adds to the mix
> > or not. IMHO, there
> > are no "pat" answers.
> >
> > Phil
> >
> > --- "Neal S." <> wrote:
> >
> >
> > ---------------------------------
> > i got a question for some of you surf guitarists,
> > who
> > have recorded.
> >
> > do you use compression? do you print with
> > compression,
> > or add it in the mix.
> >
> > what are your thresholds and ratios like ?
> >
> > very curious, and still trying to completly
> > understand
> > compression,
> >
> >
> > neal
> >
> >
> > .
> > Visit
> > for archived
> > messages, bookmarks, files, polls, etc.
> >
> >
> >
> >
> > ---------------------------------
> > YAHOO! GROUPS LINKS
> >
> >
> > Visit your group "SurfGuitar101" on the web.
> >
> > To unsubscribe from this group, send an email
> > to:
> >
> >
> > Your use of Yahoo! Groups is subject to the
> > Yahoo! Terms of
> > Service.
> >
> >
> > ---------------------------------
> >
> >
> >
> >
> >
> >
>
>
>
> .
> Visit
> for archived
> messages, bookmarks, files, polls, etc.
>
>
>
>
> ---------------------------------
> YAHOO! GROUPS LINKS
>
>
> Visit your group "SurfGuitar101" on the web.
>
> To unsubscribe from this group, send an email
> to:
>
>
> Your use of Yahoo! Groups is subject to the
> Yahoo! Terms of
> Service.
>
>
> ---------------------------------
>
>
>
>
>
>
.
Visit for archived
messages, bookmarks, files, polls, etc.
---------------------------------
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---------------------------------
You shouldn't buy "a cool old ElectroVoice mic" on eBay. Even if you could
find one that still worked properly it's unlikely you'd be able to tell the
difference between that and an SM57 as far as recording electric guitars is
concerned. Nearly everything you can hear, and certainly everything you WANT
to hear from an electric guitar doesn't begin to challenge the range of
frequencies that an SM57 can pick up. Maybe you could use a vocal condenser
for room ambience if you wanted to try something different or record the
guitar in stereo - a relatively cheap modern mike like an AKG C3000 would be
a better bet - but I find a better way of doing that is to stick a second
SM57 on the back of the amp opposite the first one. Its really not that
complicated - the tone of the amp is going to affect the sound way more than
the choice of mike - if you get that bit right you'll be fine.
Alan Jenkins
>Message: 19
> Date: Sat, 8 Oct 2005 16:39:04 -0700 (PDT)
> From: DP <>
>Subject: Re: surf compression ?
>Ferenc:
>Excellent point re: using too many (or only) SM 57's!
>I think I might go looking on ebay for a cool old
>ElectroVoice mic and see how that affects my mixology.
>Also, I can pull out my old Realistic mics and give them a
>shot with my current setup
>thanks again for that helpful nugget of recording advice!
>-dp
> And one last word about mics... everybody has a 57, it
> is a cheap and very useful mic. But, it has a distinct
> frequency range. So when you record all your tracks
> with a 57, either by using many 57s while recording a
> live band, or by using the same 57 while overdubbing,
> your entire recording will be squeezed through the
> limited frequency range of the 57. The 57 becomes a
> kind of set EQ filter. So, try and use as many
> different mics as you can to get a fuller frequency
> range.
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