When we do a special issue on guitar recording products, we go all in, and this issue is no exception. We team up with Alex Hawley, ace guitarist and hard-working pro engineer, for reviews of great tools from Radial Engineering, Line 6, Positive Grid, Sonoma Wire Works, Zoom, Strymon, JHS, and IK Multimedia. The icing on the cake is a hard look at guitar recording using the Universal Audio line of interfaces and their guitar-friendly Unison preamps.
Also in this issue: monitors from EVE Audio and Amphion, a great EQ from BAE, a beautiful Peluso microphone, Senal's latest pro headphones, and more.
We all want to know how successful engineers get their great guitar tones, and Brian Marshak delivers the goods with a series of interviews that reveal the guitar recording toolkits of Ross Hogarth, Barry Conley, Jeff Gartenbaum, Jun Murakawa, and Jay Ruston. On the acoustic side of things, Beto Hale opens his mic locker to reveal mic choices and strategies for acoustic guitar recordings.
Also in this issue, we have First Steps with Paul Stamler, Readers' Tracks with Marty Peters, our regular monthly features, and more. If you're hungry for cool tools and hot tips for capturing the best guitar tone ever, you can't afford to miss the July RECORDING!
Line 6 Helix |
This powerful processor combines flexible effects routing, amp and cabinet simulation, and a multichannel USB interface with an easy-to-use front panel and fantastic sound. Also reviewed: the Relay G10 wireless transmitter.
Amphion One12 Passive Monitors (and Amp100 mono) |
The indescribably precise sound of Amphion in a small, portable system for the discerning engineer.
Radial Engineering Headload |
Guitar amp load boxes have been around for a while, but it'd be hard to find one that offers as many useful functions for studio and stage while sounding this amazing.
Sonoma Wire Works GuitarJack Stage |
This great-sounding interface works on everything from Windows and Mac OS X to iOS and Android, all in a compact and guitar-friendly package.
Reviewed & Revisited: An Engineer/Guitarist's Experiences With The Universal Audio Apollo 8p |
An in-depth look at UA's newest interface as a recording guitarist's best friend, including a comparison of the UAD Marshall JMP 2203 amp emulation against the real thing.
Peluso Microphone Lab P-87 Solid State Condenser Microphone |
The original Neumann U 87 from the 1970s is now a sought-after classic, and this new mic offers an affordable alternative with fantastic sound. Includes a direct comparison with a vintage U 87, and an interview with developer John Peluso.
Strymon DIG and Flint |
Two new stompboxes bringing studio quality to the pedalboard: a fascinating dual delay, and a tremolo/reverb that evokes classic guitar amps from the birth of rock'n'roll.
Plug-In Outlet: Positive Grid BIAS Amp and BIAS FX |
If simulating an existing amplifier isn't enough for you, now you can design your own, block by block and tube by tube... and then include your custom amp in a completely configurable effects chain with dozens of pedals to choose from.
JHS Pedals Colour Box |
Why put the input stage of a Neve console into a guitar pedal? Because it sounds absolutely amazing, that's why!
BAE Audio B15 500 Series EQ |
This classy little module evokes the EQ of classic analog consoles -- easy to use and delightfully musical on a variety of applications.
iOS Music Tools: IK Multimedia iRig Acoustic |
A clip-on mic running into an iPhone, with studio-quality results? Read all about it.
These five engineers -- Ross Hogarth, Jay Ruston, Jun Murakawa, Jeff Gartenbaum, and Barry Conley -- have recorded rock superstars like Van Halen, Metallica, John Mayer, Black Label Society, Soundgarden, and John Mayall & the Bluesbreakers. In the......Expand
My Mics, My Sound: Mic Choices And Techniques For Acoustic Guitar |
A very personal primer on mic positioning for great acoustic sound, based on one home studio's guitars and mics. Also: four award-winning producer/engineers weigh in on their own choices for mics, techniques, and signal chains.
First Steps. Part 19: Overdubs |
In the bad old days, one wrong note meant starting the whole song over. Now we have the power to correct mistakes without harming an otherwise great performance. Here's how.