The EPIC electric guitar studio recording pro techniques thread. (or so I hope)

nicovlogg

So... the title is a bit grandiose. BUT...

In less than 2 weeks I will begin laying tracks for my band (December Streets') first full album. Having done some live studio recordings, a few studio singles and 2 days of session work for a singer songwriter, I'm not totally clueless, but for this album, I would like to have the best knowledge available. So this thread is the place where you guys give me any tips you have on recording professional, international quality lead and rhythm guitars.

My main rig is a Vox Night Train and a Silverface Bassman with a greenback cab. I use a tele mostly, an LP for some heavier stuff. I can also lend loads of gear from Marshall Music, so if it comes down to recording amps live, the option is there for more variety.

Things I'd like to know.. I get great results with Guitar Rig. But I love my amps and there is a LOT of work in my current sound. Guitar Rig just makes it very easy to make a sound sit in the mix, and best of all to get a huge variety of tones. Any opinions on how to combine the two? It sucks recording straight into a PC.

And is there any way that I can increase the character of my pickups with Guitar Rig? It seems to suck all individuality out of them, making them sound quite alike. This is probably my biggest gripe.

Things I like: (and would like to know more about)

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(2:50) The bite of this after the smoothness of the synth sounds in the chorus.. delicious! Ten to one a tele bridge pickup? Especially at 3:11. It sounds almost like there's a subtle EQ hump.. any ideas?

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(0:15) This one isn't too hard, just a delay set to dotted eighths? He plays a Jaguar it seems.

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One of my absolute favourite lead tones. How is it this fat, this clear? If anyone can give me some tips on this sort of sound, it would be much appreciated. I NEED to nail a tone like this!

So for you recording gurus.. I humbly ask for some of your wisdom! ? If you have any links to good forums or threads internationally, that would also be great. I struggle to find this stuff online, everything I find just leads me to "how to get professional sounding guitars at home"

Tokai-SA

Where are you recording and how long are you recording for?

nicovlogg

Tokai SA wrote: Where are you recording and how long are you recording for?

We'll be tracking mostly at Antimotion studios in Joburg.

majestikc

Surely if you're going to a studio it's THEIR job to get you what you want? That's probably why everything leads you to "getting pro guitar sounds at home" if you're not doing it at home, then it's up to the professionals you're going to to get it for you.

nicovlogg

majestikc wrote: Surely if you're going to a studio it's THEIR job to get you what you want? That's probably why everything leads you to "getting pro guitar sounds at home" if you're not doing it at home, then it's up to the professionals you're going to to get it for you.

The engineer and producer aren't there to decide on your tone for you - I'm not asking about "which mics" or "how to EQ"... I'm asking about gear and playing style, amp and guitar rig settings.. these are the things the player needs to decide on.

MikeM

Good point Nico. The more colours you have to paint with...

AlanRatcliffe

Kind of a "how high is up?" question on the whole... ?

nicovlogg wrote: The engineer and producer aren't there to decide on your tone for you

IMO in large part, a producer should be doing exactly that - shaping the band's sound and making many of the creative choices with an overall vision to the project's whole. This includes studio choice, gear choices (for both player and engineers), arrangements, mixing and even mastering. If that means telling you to change amp or guitar (or the drummer his snare), or telling you to lay another part, that's what he does. If yours isn't doing this kind of thing, what exactly are you paying him for? Obviously this means that choosing your producer is a critical choice...

nicovlogg wrote: Things I'd like to know.. I get great results with Guitar Rig. But I love my amps and there is a LOT of work in my current sound. Guitar Rig just makes it very easy to make a sound sit in the mix, and best of all to get a huge variety of tones. Any opinions on how to combine the two? It sucks recording straight into a PC.

If the studio has good preamps and converters use those, then use Guitar Rig on the recorded track. Plug into something like a Great River ME-1NV or UA Solo 610 into and you'll never go back. In short, as usual, get the absolute best signal to tape before filling with the sound. I often chuckle at guys who use a cheap interface or laptop mic input and then complain about bad tone from GR or Amplitude.

And is there any way that I can increase the character of my pickups with Guitar Rig? It seems to suck all individuality out of them, making them sound quite alike.

See above, Also don't use too much gain.

(2:50) The bite of this after the smoothness of the synth sounds in the chorus.. delicious! Ten to one a tele bridge pickup? Especially at 3:11. It sounds almost like there's a subtle EQ hump.. any ideas?

Not a Tele. Two guitar parts playing the same part in different registers.

One of my absolute favourite lead tones. How is it this fat, this clear? If anyone can give me some tips on this sort of sound, it would be much appreciated. I NEED to nail a tone like this!

Crunchy amp and tremolo picking are the important bits to my ear.

nicovlogg

Alan Ratcliffe wrote: Kind of a "how high is up?" question on the whole... ?

Yeah, I know. I'm casting about, so to speak.

Alan Ratcliffe wrote: IMO in large part, a producer should be doing exactly that - shaping the band's sound and making many of the creative choices with an overall vision to the project's whole. This includes studio choice, gear choices (for both player and engineers), arrangements, mixing and even mastering. If that means telling you to change amp or guitar (or the drummer his snare), or telling you to lay another part, that's what he does. If yours isn't doing this kind of thing, what exactly are you paying him for? Obviously this means that choosing your producer is a critical choice...

I hear you. But I don't think that means he chooses your gear. He might suggest something better if he feels it'll work for the song. But it's still up to the player to bring HIS sound as well as he can.

Alan Ratcliffe wrote: If the studio has good preamps and converters use those, then use Guitar Rig on the recorded track. Plug into something like a Great River ME-1NV or UA Solo 610 into and you'll never go back. In short, as usual, get the absolute best signal to tape before filling with the sound. I often chuckle at guys who use a cheap interface or laptop mic input and then complain about bad tone from GR or Amplitude.

Yeah.. that won't be a problem ?
Ever compared Amplitube or Waves and Guitar Rig?

Alan Ratcliffe wrote: Not a Tele. Two guitar parts playing the same part in different registers.

Whatever it is.. it sounds incredible! ☹

AlanRatcliffe

nicovlogg wrote: But it's still up to the player to bring HIS sound as well as he can.

Granted. Still, I'm one of those that believe the core of that comes from the player and is mostly just modified and filtered by the amp, speaker and mic.

Ever compared Amplitube or Waves and Guitar Rig?

Yup. Amplitude was impressive tonally, at least on a par with Guitar Rig, but GR won out for me thanks to the expansive routing and control options and interesting collection of effects. Was unimpressed by Waves GTR (but to be fair, I tried the demo version, without the Waves interface).

DonovanB

I'm a big fan of taking a clean feed for re-amping later if need be.

Sometimes the sound of the amp or something is just not right with the mic and ruins the guitar tone in the mix. Then it's way easier of the take is good, to add effects afterwards.

I'm also a believer in modulation effects added afterwards as well. Delay, Reverb, tremolo etc. I've seen some delays that you can change the feedback rate "on the fly." So you can get that feel of the delay speeding up or slowing down. Then also you have greater control of stereo in the mix.

giggsy

nicovlogg wrote: (2:50) The bite of this after the smoothness of the synth sounds in the chorus.. delicious!

Best part of the album - could listen to it all day 8)

nicovlogg

Alan Ratcliffe wrote: Granted. Still, I'm one of those that believe the core of that comes from the player and is mostly just modified and filtered by the amp, speaker and mic.

That's true for me as well. But I'd like to think that a unique tone sets certain bands apart from others.

Yup. Amplitude was impressive tonally, at least on a par with Guitar Rig, but GR won out for me thanks to the expansive routing and control options and interesting collection of effects. Was unimpressed by Waves GTR (but to be fair, I tried the demo version, without the Waves interface).

Amplitube didn't impress me as much. The engineer has all of these plugins, but I like Guitar Rig, and I have it at home so that makes it easier to set up my own effects.

makepeace

Dunno anything about any of this, but +1 on editors tone ?