Archive for electric

7 No-Brainers for Recording Electric Guitars

Posted in Recording Techniques, Tips & Tricks with tags , , , , , , on March 29, 2010 by Chris Bracco

It’s been a while since I’ve blogged about anything related to actually MAKING music…..soooo, yeah. Let’s do it.

Guitarist

At first glance, an electric guitar seems like a pretty straightforward instrument to lay down. I, for one, never really stress too much over it. I can always get a decent guitar sound recorded without too much effort – thanks to my trusty Shure SM57, and some patience while tweaking the mic position millimeter by millimeter until I hear something I like. Recently, though, I had some excellent equipment and a good player to work with, so I wanted to make the session worth it, and really nail it. Enter Internet.

After some trolling around Google, and some soul searching, I’ve dug up 7 good pieces of advice to consider while recording your axe:

1. Show your axe some love – GET A TUNE-UP!

Intonation and old strings can easily transform a $1500 American Strat into an $89 Yamaha. Take care of your guitar and make sure you have some fresh strings put on about a week (max) before hitting the studio. Also, if you hear any buzzing notes or notice the higher notes are a bit out of tune, spend the $35 bucks to get that sucker tuned up. The differences are SO noticeable, and will help your guitar sound great when its time to record.

2. Spin around in circles until the hum is gone.

Sounds ridiculous, but it actually works (And it makes for some great b-roll video)! Equipment containing transformers will often cause hum interference with electric guitars, especially with single coil pickups. If you experience this humming, move the player as far away from the interfering equipment, and have the player rotate until you find an angle that produces the least amount of hum. Then, have the player stand or sit like a Roman statue throughout the entire performance. Seriously, it works. And saves you a ton of headaches trying to figure out where that damn hum is coming from.

3. Can I get a big amp sound out of a dinky practice-sized amp? YES! It’s all about mic positioning.

Here is where engineering and trickery can go hand in hand (awesome). If you don’t have the luxury of some beastly amp setup, like a JCM-800 head  over a 4×12 speaker cab packed with Celestion Vintage 30’s – then, well, fake it! Plug in the 5W tube amp, and start moving that microphone around the room. Seriously, everywhere. Try putting the microphone at the position of your head, so it “hears” what you hear. Try miking the amp from the side, the rear, the top, even the bottom (hang that wimpy thing from the ceiling!). If you lift the amp off the ground, you can eliminate bass, or shove it in the corner to enhance the bass. If it sounds brittle, try facing the amp into a corner, then miking the amp from behind. You can get some crazy cool tones just by mic positioning.

-Extra tip: pick up a pair of noise-canceling cans, enable input monitoring, and have the guitar player strum away as you experiment with mic positions. This is much easier than recording a short take, playing it back, moving the mic, recording another take, playing it back, etc (ow, my head…).

4. Double your takes RIGHT AWAY.

Many artists, producers, and engineers like to save overdubs for another day. However, guitar parts aren’t usually written out note for note – there is a bit of spontaneity involved while doing a take. If you think you may need to beef up the part a bit, it is much easier to just lay down the double track during the same session so these spontaneous moments are much easier to replicate. Swap guitars or amp settings to get a slightly different tone, and have at it. Don’t worry – you’ll nail it on the first try. 😉

5. Only use effects pedals that are crucial to the song.

I’m not gunna lie – I’m kind of a pedal whore. I love screwing around with my rig to find some crazy new sound. However, when recording, it is important to use the least amount of pedals necessary in order to get your point across. With too much going on, it’s easy for the microphone to pick up a garbled mess of junk. More often than not, reverbs can be turned off and added during mixing instead. While it may sound great live, it may not serve it’s purpose in the studio. Back it off  bit, and your track will thank you.

6. Don’t overlook timing.

Lots of axe players fear the metronome. PLEASE, make it your friend. As a result, you will have more friends. At least in the studio. Playing fast may be impressive, but if you can’t time your killer solo perfectly with the click track or the rhythm section, people will notice. And it will suck. My advice is to start absurdly slow with something that you normally play fast, and work your way up until you reach the desired speed, while still being able to articulate the notes well. If you already have experience playing with a click track, then just make sure you get a few weeks of solid practice in before the recording session so you aren’t rusty. This saves a TON of time having to redo a rhythm take 75 times because you were off by a 1/16th note in the bridge.

7. Broke? Get a 57.

The Shure SM57 is the go-to microphone for recording electric guitars. You can get one used on eBay for like 75 bucks, which is dirt cheap compared to the other end of the microphone pricing spectrum. GET ONE. This thing is a warrior, and will probably outlive you. Just place it in front of your cab and you are pretty much guaranteed an okay guitar sound. Play around with mic positioning and you can track some excellent tones! If you are the non-conformist type, or have some extra cash on hand, give the  Sennheiser MD 421 a try. You can get some cool sounds outta that guy as well.

I hope these no-brainer tips were helpful! Even if you have been given all of this advice before, consider them as important reminders. 🙂

_chris

Advertisements