Recent influx of eye candy gear
- Thread starter nickyseow
- Start date
PatheinRaindropMoe
New member
good info there, thoa!
Hopefully more people be inspired to move into next stage after getting the good gear.
afterall a good tone in words is as good as nothing in words without hearing
rock off
Hopefully more people be inspired to move into next stage after getting the good gear.
afterall a good tone in words is as good as nothing in words without hearing
rock off
MadWerewolfBoy
New member
people with skill and no gear diss people with gear and no skill
people with gear and no skill envy people with skill and no gear
its like, some1 who's hungy will be anry with sum1 who doesn't finish his food infront of him...
some1 who's full will envy sum1 who's eating good food...
okay.. doesn't make much sense so we should stop debating about whether gear > skill or skill > gear...
anyway... mic'ing up an amp to recrod is rather tricky... i've heard a lot of people who're tried it and got bad results even with good mic's and amps... then they switch to some direct to com interface unit... well... i would say, mee siam... mai hum... :twisted:
just get a toneport or sumthing similar to save cost and time.. unless u're rich and got $ to experiment try and error style with a lot of diff gear... :wink:
people with gear and no skill envy people with skill and no gear
its like, some1 who's hungy will be anry with sum1 who doesn't finish his food infront of him...
some1 who's full will envy sum1 who's eating good food...
okay.. doesn't make much sense so we should stop debating about whether gear > skill or skill > gear...
anyway... mic'ing up an amp to recrod is rather tricky... i've heard a lot of people who're tried it and got bad results even with good mic's and amps... then they switch to some direct to com interface unit... well... i would say, mee siam... mai hum... :twisted:
just get a toneport or sumthing similar to save cost and time.. unless u're rich and got $ to experiment try and error style with a lot of diff gear... :wink:
jnev
New member
Dudes some guitarists like the technicalities while others are pedal tweekers, and there are the gifted few that can do both... I say lets all just shut up and start playing our hearts out and push the bloody local scence to the level that will do justice to all the talented musicians we have!
THOA
New member
You'll be surprised :lol:
We are not trying to discourage you from mic-ing. It's something that needs to be tried, really. It might not sound AS BAD as I painted it, but you might be disappointed about its ability to capture the TRUE sound of our amp ie what you hear might not sound like what you record. Of course you can get really lucky and get the sound you want from the first try.
The SM57 mic is used in lots of guitar recording because of its shorter grille design, hence allows the mic's diaphragm to be closer to the source of sound eg amp. You can pretty much touch the mic to the amp to get the diaphragm as close as possible. Compared to the ball headed design of most dynamic mic, which also can have an in built wind screen, the SM57 doesn't, so it captures a bit more hi frequency, making it sound brighter and cleaner. Not only is it used for guitar. In fact, it can be used for drums, and wind and brass instruments as well.
Because of that, SM57 is a little more sensitive than most dynamic mics, especially in the midrange, hi-midrange frequencies. So there is a danger of guitar recordings sounding TOO harsh, and totally destroying your tone.
It is a matter of proper mic placement. You have to experiment to find your sweet spot. Putting the mic close to the amp will give you a sharper tone, but will eliminate sound reflections from your room. Putting away from your amp will soften the harshness but you are gonna capture more reflections from the room (that is why i stressed so much on room acoustics).
Having a mixer to compensate for the recordings eq can help but that means you gonna spend more on that. Perhaps let a mixer be an option instead of a need.
I would suggest:
- Putting your amp and mic on a thick carpet. This will help eliminate reflections and rumbling from the floor that will make your muddy your recording.
- Place the mic to your sweet spot.
- Cover the mic and the amp with a blanket to dampen reflections from the room.
- Jam away and record it.
If all else fails, just go direct through the Toneport.
We are not trying to discourage you from mic-ing. It's something that needs to be tried, really. It might not sound AS BAD as I painted it, but you might be disappointed about its ability to capture the TRUE sound of our amp ie what you hear might not sound like what you record. Of course you can get really lucky and get the sound you want from the first try.
The SM57 mic is used in lots of guitar recording because of its shorter grille design, hence allows the mic's diaphragm to be closer to the source of sound eg amp. You can pretty much touch the mic to the amp to get the diaphragm as close as possible. Compared to the ball headed design of most dynamic mic, which also can have an in built wind screen, the SM57 doesn't, so it captures a bit more hi frequency, making it sound brighter and cleaner. Not only is it used for guitar. In fact, it can be used for drums, and wind and brass instruments as well.
Because of that, SM57 is a little more sensitive than most dynamic mics, especially in the midrange, hi-midrange frequencies. So there is a danger of guitar recordings sounding TOO harsh, and totally destroying your tone.
It is a matter of proper mic placement. You have to experiment to find your sweet spot. Putting the mic close to the amp will give you a sharper tone, but will eliminate sound reflections from your room. Putting away from your amp will soften the harshness but you are gonna capture more reflections from the room (that is why i stressed so much on room acoustics).
Having a mixer to compensate for the recordings eq can help but that means you gonna spend more on that. Perhaps let a mixer be an option instead of a need.
I would suggest:
- Putting your amp and mic on a thick carpet. This will help eliminate reflections and rumbling from the floor that will make your muddy your recording.
- Place the mic to your sweet spot.
- Cover the mic and the amp with a blanket to dampen reflections from the room.
- Jam away and record it.
If all else fails, just go direct through the Toneport.
MadWerewolfBoy
New member
according to what dhalif said, it goes along the lines of what thoa said..
which leads me to believe its true cuz these people should know what they are talking about.. u might think toneport and the likes wouldn't sound "real" and "analog"... but what's the use if u spent moolah on the best mics and mixers to mic up ur top line amps and 8×12 cabs just to get a result which sounds worse than a toneport no matter how u position the mic/play with the acoustics?
i'm sure the room acoustics has a lot to do with micing up a solid tone if not pro studios would have been out of business...
well, it still boils down to practicality vs millionaire...
got moolah, just blow it and try everything... if it works, share it with us so people planning to do the same would have an idea of what to get to avoid wasting more $ on try and error...
no moolah, go with computer recording interfaces... if it doesn't deliver the results... well, go to a pro studio! :twisted:
which leads me to believe its true cuz these people should know what they are talking about.. u might think toneport and the likes wouldn't sound "real" and "analog"... but what's the use if u spent moolah on the best mics and mixers to mic up ur top line amps and 8×12 cabs just to get a result which sounds worse than a toneport no matter how u position the mic/play with the acoustics?
i'm sure the room acoustics has a lot to do with micing up a solid tone if not pro studios would have been out of business...
well, it still boils down to practicality vs millionaire...
got moolah, just blow it and try everything... if it works, share it with us so people planning to do the same would have an idea of what to get to avoid wasting more $ on try and error...
no moolah, go with computer recording interfaces... if it doesn't deliver the results... well, go to a pro studio! :twisted:
Whitestrat
New member
Shredcow:
Actually, you're right. We only see the top 1% of musicians who make it, and they get the free stuff. But these are the ones we listen to most of the time, and I think the idea of GAS comes partly from seeing our heroes use that same equipment we want. That's where marketing communications comes into play.
I remember one article where Nuno mentioned he met EVH in the studio once, and EVH said to him: "Hey, I got my new rig here. want to check it out?", then Nuno thought "Hell yeah! Now I'll sound like my hero EVH!". Then Nuno mentioned that when he played EVH's guitar and rig, he sounded just like himself. That's why he said the tone is in the fingers.
I had the same experience once. I liked my friend's tone so much, I thought, hell, I'll copy his settings (back then it was the BOSS ME-30), and I'll get that same tone! Next thing you know, I sounded like myself... :? I'm not even talking about skill. I'm talking about that same sound you hear fom yourself no matter what you play. i've learnt the long and hard way, it's got to do very much also with how you fret, how you pluck, and the kind of pick you use. And those are very individual things.
I gave up gear chasing long ago and started trying to simply buy stuff I liked hearing rather things I wanted because so and so used it. It was also then that I discovered that different guitars make you play differently. THAT was a revelation. I mean, I've heard about that, but I've never experienced it.
When I play my strats, I play very differently from a Les Paul and from superstrats. There's a lot more raking and slapping the notes on the strat than on the others. My playing is more percussive, and touch-sensitive on a strat. on a les paul, I'm more about squeezing one note and seeing how long I can get it to sound. On superstrats, it's more about articulation, and how many notes I can play in one bar without sounding like shit. Really weird. Never realised that my playing could be so different on different guitars.
Anyways, I still believe that with money, you can buy sound, but not tone. And anyways, that money belongs to the individual. Who are we to decide for them how it should be spent? Let them be happy with their purchases. I'm happy with mine, and I'm sure you're happy with yours... :wink:
Actually, you're right. We only see the top 1% of musicians who make it, and they get the free stuff. But these are the ones we listen to most of the time, and I think the idea of GAS comes partly from seeing our heroes use that same equipment we want. That's where marketing communications comes into play.
I remember one article where Nuno mentioned he met EVH in the studio once, and EVH said to him: "Hey, I got my new rig here. want to check it out?", then Nuno thought "Hell yeah! Now I'll sound like my hero EVH!". Then Nuno mentioned that when he played EVH's guitar and rig, he sounded just like himself. That's why he said the tone is in the fingers.
I had the same experience once. I liked my friend's tone so much, I thought, hell, I'll copy his settings (back then it was the BOSS ME-30), and I'll get that same tone! Next thing you know, I sounded like myself... :? I'm not even talking about skill. I'm talking about that same sound you hear fom yourself no matter what you play. i've learnt the long and hard way, it's got to do very much also with how you fret, how you pluck, and the kind of pick you use. And those are very individual things.
I gave up gear chasing long ago and started trying to simply buy stuff I liked hearing rather things I wanted because so and so used it. It was also then that I discovered that different guitars make you play differently. THAT was a revelation. I mean, I've heard about that, but I've never experienced it.
When I play my strats, I play very differently from a Les Paul and from superstrats. There's a lot more raking and slapping the notes on the strat than on the others. My playing is more percussive, and touch-sensitive on a strat. on a les paul, I'm more about squeezing one note and seeing how long I can get it to sound. On superstrats, it's more about articulation, and how many notes I can play in one bar without sounding like shit. Really weird. Never realised that my playing could be so different on different guitars.
Anyways, I still believe that with money, you can buy sound, but not tone. And anyways, that money belongs to the individual. Who are we to decide for them how it should be spent? Let them be happy with their purchases. I'm happy with mine, and I'm sure you're happy with yours... :wink:
gsonique
New member
Code:
and I'm sure you're happy with yours...NOT :evil:
:lol: Actually you have made some good *worthy* points to consider in yer post ....nowadays i just go for surprises and see how it works for me rather than gear chasing ....suddenly my favourite records have crappy guitar tone!!! :twisted:
Whitestrat
New member
You not happy with what you buy??? 8O
Ya lor... haven't you had that situation where you listen to something, like the playing and all, but think that it might sound better with a different tone? :wink:
gsonique
New member
I love my own ...enjoy every bit of my hard labour of what i use now.
But ...yeah those records kinda fueled my quest, giving me a taste of what i will eventually adorn as my tone!
I can now say, its not what gear(brand) ...but what type of gear and how you use it to achive what you want ....but definitely learnt heaps from manupulating gear ...still do.....if you get what i mean!!
Get to know tone ... your inner tone!
Whitestrat
New member
This cannot be truer!!! I always hear many othre guitarists say they are searching for that tone... but you ask them to define that tone, none of them can... They always say something like: Petrucci's tone lor... or EJ's tone, or Vai's tone or someone else's tone. Never their own definition, because simply, most don't know what they want.
Everyone I spoke to tells me this/that set is the best for strats if you want the "best" tone from your strat. Very Knopfler/Clapton/Gilmour/SRV/EJ whatever... I try this and that set, and I find it unacceptable... Yes, the tone is nice, but not what I want. I wanted something vintage, ballsy and yet different enough. Belltone.
Most people ignore the Hank Marvins when they think of Kinmans... But this, to date, is my favourite. No other pick up I've tried sounds like it... And the best part? No one else sounds like me... whahahahaha... :twisted: (Not even Hank Marvin himself...) :lol:
PatheinRaindropMoe
New member
tone without context is like white noise coated with sugar
and white noise within context is like Nin Jiom Pei Pa Koa down the throat!
and white noise within context is like Nin Jiom Pei Pa Koa down the throat!
snuffleupagus
New member
In a nutshell, everybody has different ears when it comes to their own tone and may not hear what the gear is supposed to emulate even if they use Hank Marvin-ish pups?
PatheinRaindropMoe
New member
i heard a new sound in my head for the future, it says nin jiom pei pa koa will be the one, like neo in matrix!
I believe so, come join me for the pei pa koa appreaciation group! We will drink pei pa kao all day long and play guitar with tone like thunder and lightnin!
I believe so, come join me for the pei pa koa appreaciation group! We will drink pei pa kao all day long and play guitar with tone like thunder and lightnin!
Whitestrat
New member
Ya lor... Some more I don't even know what Hank MArvin himself sounds like. I just like the sound of those pups... whahaha... So who cares whether I sound like him or not. I like the sound can liaoz...
ok for the record, i LOVE pei pa kao. seriously, like when you mix two tablespoons in with a bit of boiling hot water, and sip it. omg heaven.
thanks all for the inputs on the lecording. looks like the sm57 + a mike to mike up the ambient sounds in the room into a decent mixer seems to be the way here. now. to find the decent mixer. recommendations?
thanks all for the inputs on the lecording. looks like the sm57 + a mike to mike up the ambient sounds in the room into a decent mixer seems to be the way here. now. to find the decent mixer. recommendations?
Similar threads
