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“The old cliché ‘we’ll get it in the mix’ is bullsh*t.”- Jane Child

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Videos

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.
By 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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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.
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 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 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.




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