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“The criteria should be what the message is, what the story is. What’s the bottom line? It shouldn’t be how fast you can play the run, but can you keep time? Do you have a heart, do you have a soul, what’s your message? And that gets kicked aside.”- Les Paul

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Videos

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
Setting up five mics aimed at a Fender amp: a Shure SM57LC dynamic 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.
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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.
Michael Schulze and Lorenz Rychner
Setting up five mics aimed at a Fender amp: a Shure SM57LC dynamic 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.
Electric Guitar Part 1
Comparing the sound of each of three mics aimed at an amp from various distances and angles.
Michael Schulze and Lorenz Rychner
Comparing three mics, one at a time: a Shure SM57LC dynamic 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 angles with various amp settings.
Electric Guitar Part 3
Combining mics for different blends from several mics, time-aligned. Demo of polarity-inverted rear mic, and panning suggestions.
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 4
Reamping for new tones from a vintage 1959 Gibson Explorer amp. Adding an ambient figure-eight room mic, and an impedance-adjusting Tonebone Dragster.
Michael Schulze and Lorenz Rychner
Introducing reamping techniques, and adding DI (Direct Input) signals with a Radial JCR Studio Reamper, getting new tones from a different amp, a 1959 Gibson Explorer, than the Fender amp used to record the first-generation tracks. Also introduced: A Shure KSM44 (large-dual-diaphragm, multi-pattern condenser) as an ambient figure-8 room mic, and stomp box options. A Radial X-Amp reamping box allows connection of both amps during reamping, for even more tonal possibilities. The Radial/Tonebone Dragster is demonstrated as it provides tonal adjustments through impedance loading.




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