Navigation
Advertise | Contact | Feedback | Contest
Navigation
Quote of the Day

“I decided we were never going to go to more than 24 tracks. I paint as well, and there’s no use starting the picture when later you’ll need to bolt some extra space onto the canvas.”- Tom Bailey of the Thompson Twins

Bottom of quote of the Day
Most difficult instrument to record?





Home » Videos» Recording Guitar

Videos

Recording Guitar

These instructional videos explore choices and techniques for miking and recording guitars. Make sure the audio playback system you use provides you the best audio quality possible to receive the full benefit of the tutorials.
 
Comparing three mics, one at a time: a Shure SM57LC dynamic <a href=cardioid, a Sennheiser MD 421 dynamic cardioid, and a Royer R101 dynamic ribbon mic with a figure-8 pattern, we're searching for the best sound to be had from an electric guitar through a Fender amp, exploring capture distances and mic a..." width="200" height="120" border="0" />
Electric Guitar Part 1
Comparing the sound of each of three mics aimed at an amp from various distances and angles.
By Michael Schulze and Lorenz Rychner
Using just one mic, an MXL 2001 large-diaphragm condenser, we're searching for the best sound to be had from an acoustic guitar, exploring capture distances, mic angles and positions.
Acoustic Guitar Part 1
One mic, from several angles and distances, looking for the best sound.
By Michael Schulze and Lorenz Rychner
Begins with the use of a single mic on the bass cabinet, exploring miking distance, mic location, and proximity effect. Tonal characteristics are demonstrated for the following mics: Sennheiser MD421, Shure Beta 52A, Shure SM57LC.
Bass Guitar Part 1
Comparing the sound of each of three mics aimed at a cab from various distances and angles.
By Michael Schulze and Lorenz Rychner
We explore what other mics sound like when used in the same spot that we liked in our previous video (at the 12th fret, at a distance of about a foot and angled about 45 degrees): Lewitt Authentica LCT 640 (large-diaphragm multi-pattern condenser), BLUE Reaktor (large-diaphragm multi-pattern cond...
Acoustic Guitar Part 2
Six different mics, each at the 12th fret, all sounding different.
By Michael Schulze and Lorenz Rychner
These three mics are used on the bass cabinet: Audix D6, Electro-Voice RE20, Electro-Voice RE320. Demonstration of the effect of Electro-Voice's Variable-D that negates proximity effect.
Bass Guitar Part 2
Comparing the sound of each of three different mics aimed at a cab, with demo of EV mics with Variable-D.
By Michael Schulze and Lorenz Rychner
Setting up five mics aimed at a Fender amp: a Shure SM57LC dynamic <a href=cardioid, two Sennheiser MD 421 dynamic cardioids (one in front, and at the rear), a Royer R101 dynamic ribbon mic with a figure-8 pattern, a Marshall MXL2001 cardioid condenser. Explains phase relationship and time alignment." width="200" height="120" border="0" />
Electric Guitar Part 2
Comparing the sound of each of five mics aimed at an amp from various distances and angles. Explains phase relationship and time-alignment.
By Michael Schulze and Lorenz Rychner
Looking for the best sound with two mics, a pair of MXL 2001 large-diaphragm condensers, not for stereo but for a balanced blend in mono, to capture both strums and fingerpicking. Explains 3-to-1 rule, and references proximity effect.
Acoustic Guitar Part 3
Two mics, roughly equidistant, for mono blend, 3-to-1 rule.
By Michael Schulze and Lorenz Rychner
Demonstrates the use of active and passive DI (Direct-Input) boxes, dbx DB12 and Radial ProDI, and explains time-alignment of tracks to regain tonal quality when signals are mixed together.
Bass Guitar Part 3
DI boxes (active and passive), time-shifting tracks for time-alignment of blended tracks.
By Michael Schulze and Lorenz Rychner
Comparing different combinations of blends from among the five mics set up in different locations, time-aligned as shown in Part 3. Contains convincing demo of polarity-inverted rear mic, and panning suggestions.
Electric Guitar Part 3
Combining mics for different blends from several mics, time-aligned. Demo of polarity-inverted rear mic, and panning suggestions.
By Michael Schulze and Lorenz Rychner
Again looking for the best sound with two mics, a pair of MXL 2001 large-diaphragm condensers, not for stereo but for a balanced blend in mono, with a closer and a more distant mic. Explains phase relationship and time-alignment. Introduces DI (Direct-Input) signal (dbx DB12).
Acoustic Guitar Part 4
Two mics, near and far, for mono blend. Phase, time-alignment, DI signal.Two mics, near and far, for mono blend. Phase, time-alignment, DI signal.
By Michael Schulze and Lorenz Rychner




The Magazine | Featured Review | Resources & Info | Readers' Tapes | Editors' Blogs | News | Shop | About Us | Contest | Subscriptions | Contact
Terms and Policy | Advertise | Site Map | Copyright 2008 Music Maker Online LLC | Website by Toolstudios
RSS Newsletter Refer a Friend Q&A Q&A