We Visit AMS Neve [And Go Through The Basics Of Recording A Great Guitar Tone]
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- Опубліковано 14 тра 2024
- So you want to record a great guitar sound?
Welcome to the show. A slight change from the norm today as we visit a company and brand that has made an absolutely stellar contribution to recorded music across six decades to date. Whether it’s a giant digital console handling the latest Hollywood blockbuster, or a simple 500-series preamp at the heart of your recording channel, Neve remains a pillar of sound design and production.
However… as interesting as a factory tour would be - AMS Neve products are still made in Burnley, Lancashire - we thought we would tackle something a little more practical: the basics of recording a simple guitar tone using an amp and mics.
We look at close mic’ing, room mics, preamp gain, EQ and a little bit of compression, all explained by professional audio engineer and Neve product specialist and Joe Heaton. Thank you Joe!
Enjoy the episode!
But but but…
Q1. Oh come on, are you saying I need mics and recording gear costing thousands?
Emphatically NOT. Use whatever you have. We do mention this in the video, but regardless of the gear you’re using - mic type, interface, hardware, plugins etc - the principle and process is the same.
Q2. You didn’t talk specifically about close mic placement - why not?
Yes, sorry about that. The slightly annoying truth is that you can put it more or less where you want. People will argue about on- or off-axis, distance and position but you need to move it around and see what you like. Our sweet spot with a loud amp tends to be about 10-12 inches away the grille, pointed at the spot where the speaker’s dust cap (the round bit in the centre) meets the cone. If your amp is quieter, move it closer.
- The more you move away from the dust cap towards the outer edge of the speaker when close mic’d, usually the darker the sound will become
- The more you move away from the speaker in terms of distance, you’ll get a less pronounced change in high end, but the bass can drop off
Q3. Where do I put my room mics?
Phase can be an issue when using room mics in addition to close mics, especially when summing to mono. It’s probably worth reading a little about this online… but don’t get too bogged down in it before you start. Put the mics up, listen, move them, listen, repeat. You’ll learn way more doing that than reading anything.
- The more reverberant the room, the more the room mic(s) will have a dramatic effect
- The further away you put the room mic or mics, the more ambient the sound
- The louder you mix the room mics, the more ambient the sound
- You might not want any room mic at all in a busy mix
Pedals & stuff used in this show
No pedals today
• Sontronics Delta 2 Ribbon (close mic)
UK & Europe: bit.ly/44czKbD
• AKG C414XLII (room mics)
UK & Europe: bit.ly/3VUHJro
USA: sweetwater.sjv.io/21NxVG
• Neve 88M Audio Interface
USA: sweetwater.sjv.io/zNVLn7
• Neve 1073 SPX D
USA: sweetwater.sjv.io/XYeD2M
Interesting bits and go-to sections
0:00 We’re at Neve
0:36 Dan’s happy place
1:06 What are we doing today?
1:55 Here’s Joe!
3:10 What is a Blumlein Pair?
3:50 What we’re using to record
5:08 Our setup
6:40 Phantom power
7:10 Setting the input gain
8:35 Analogue & digital headroom
10:20 Push the mic pre for distortion and colour
13:50 Using EQ when recording
17:06 EQ also is gain
19:30 A/B your EQ, let your ears decide
20:06 EQ in pre or post?
20:20 Room mics
22:15 Blending room and close mics
23:10 Turn the Deluxe up… yeah baby
26:34 Adding compression pre/post eq
28:00 Turn up the amp, decrease the gain
28:56 Post recording tweaks
32:00 EQ’ing and reprinting the recorded track
36:40 Latency
44:25 So much more than the guitar gear
48:30 Great studios will never die
50:49 Play us out
Guitars used in today’s show
• 1962 Gibson Les Paul (SG)
Amps used in this show
• Fender ’65 Deluxe Reverb with stock speaker
UK & Europe: bit.ly/2G9OnFJ
USA: sweetwater.sjv.io/B0JXex
We hope you enjoy this episode. Please subscribe to our channel.
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UK & Europe: Andertons Music bit.ly/2cRvIvt
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Legend has it Dan is still to this day sitting and happily playing.
They say his gost is roming those rooms far in distopian future.
😂😂😂❤
Only 5 minutes in and I can say, YES! More vids like this, TPS! I know its a lot of work, but this is soooooo good.
I have never recorded and this is truly fascinating. The production of the video is ace Mick!
Wow, thanks Omar!
It's stunningly impressive to watch this I can't imagine seeing it in person..my God the combination of the past and present could not be more perfectly displayed in any space as it is here. The quality is second to none
Wow, Illuminating and inspiring!
I’ve got unused gear, some remaining time,a place to play, and now demos of actual use cases.
Now is the time to throw open the woodshed doors!
Perfect timing, Mick. I'm about to start working on a solo demo to get gigs with, was looking for recording tips.
Oh yeah. Finally. Thanks very much! ✌🏼
Neve 88 is the best gear ever.
Sounds so good.
Awesome 😎 it really reminds bedroom guitarists that you'll never in a million years get the tones/sounds of your favourite albums with your guitar, pedals,amp,set up! The amount of circuits,mics, preamps,speakers and then cutting to vinyl your signal changes so much 😃 just play and enjoy for the fun!
D&M, another fantastic episode! So interesting and well produced. Special kudos to Joe for clearly walking us through and explaining the process so that a knucklehead such as myself could understand. Bravo to all!!
Great episode! And the tone of that SG into the Deluxe Reverb is pure tonal bliss!!!!! 😊
Superb Video. Thank you TPS and Neve. More please.
This video was so educational and answered a bunch of questions I had as a beginner. Thank you so much and great video!
I bought a couple 1073 Channel Strips and they just arrived. This video couldn’t have come at a better time! What synchronicity. I’ve been waiting for you guys to do this video for years!
Love that this is and isn’t dumbed down - classic TPS something for everyone willing to learn
Yep yep yep. More of this please. Very interested to learn about this stuff and I think it can easily be brought back into pedals when it comes to capturing heavily effected guitar tones. A+ gents.
Recording is a compelling venture, but I found that I lost the motivation and creativity of playing my guitar, because I was so keen on dialing in and mixing the music...decades later....I'm back to just playing guitar and loving every minute of it
Great music comes from great playing, even an I-phone recorded video sounds great IF the playing is great (ie:Paul Stafford Cook).
You both have done more to teach the world about gain staging than anybody ever. These are the same principles that guitarists have to think about when using boosts, overdrives, and EQs in our guitar rigs (except maybe for the need to avoid digital clipping unless you're using a modeler). Great show as always, and one that will be a great educational reference for years to come.
Amazing video and amazing editing. The Neve products are something to behold.
Excellent coverage of gain staging. Best I have come across. Thanks guys.
I have no words for this today, my friends! Amazing. I am fresh back from Hot Springs, AK (USA) where the eclipse was totality. It is the lunar new year and the Aries New Moon. . .
I have spent my morning cleaning and clearing and resetting my own home studio. This was a most inspiring way to to move through that. By morning, I will be back to loving my starved plate Aphex pre's and my borrowed ART compressor. . . but today, I am glad I have time before hearing them again. So, thanks, Mick for all this GAS!!!! LOL. Great playing and just such a great worthwhile episode!
Ha, cool! Eclipse and analogue machines. This is life!
This was so informative. Thanks gents! (Off camera: "Can we knock Dan down a bit mor...Better yet Dan, go to the pub down the road and the level into these mics should be fine?" 🤣)
I had literally no idea that Neve are located literally 5 miles away from where I grew up, lived for over 20 years and where my father still lives!! Putting East Lancashire on the map!! 👍🏻👏🏻👏🏻👏🏻
This was utterly fascinating!! Thank you from Bonnie Scotland
Honestly? I was just going to sample through this one. But like a great class at a top shelf college with inspiring professors... I hung on every word. We are enriched. Thanks all for this one!
What a great idea to go there at Neve. Very inspiring. Thank you Mick & Dan.
Best regards from Denmark
Fantastic video. More of this sort of stuff! Cheers guys.
i JUST finished re-setting-up my recording stuff. talk about perfect timing. really looking forward to this one, fellas!
Remember guys! It's NOT about you not having Neve preamps to record stellar guitar GaiNAge, excactly like they do here. It's about being inspired by how they do it, and returning back to your own setup, and think differently.
No mortals are gonna have those preamps anyways! Hahahah...... : ' ) "STOP COSTING ME MONEY!", genius Mick!
I'm gonna experiment with tube preamp plugins more and mics! :D
Great one, TPS
Great show guys! Cheers Dan, Mick and Joe!!
Loved this one, fascinating insight. And in true TPS fashion I see another vast rabbit hole opening up 😂. Thanks Mick, Dan and Joe
It’s open, I’m in it. Arggghhhhh!
@@ThatPedalShow 🤣🤣🤣
Hell yes!! More of this!
Thanks for a very interesting show there's an awful lot that goes into great music, I watched some shows from a classic studio in America & Mr Tomato talking to the engineer who worked on aJa it's incredible thanks guys. THE GUITAR PLAYING WAS SUPERB. PEACE AND LOVE TO EVERYONE ❤❤.
Another great show. I did a bunch of home recording years ago, first with tape then digital. Not sure I want to go back to it. But it’s good to see great analog gear has its rightful place. Digital has come a long way though so I’m glad you had this show.
Perfect episode. Go in with a little bit of knowledge and come out with a ton of insight.
Yeah man, big time. It’s a reminder that the only way to really learn is firstly to do it and make loads of mistakes. And then talk to someone who has done it much more and made loads more mistakes. You have the right questions at that point!
Then repeat for the next 40 years. Hahaha!
Can't wait to watch this later. Hope it covers not playing like an absolute noob when the red light goes on.
Hahaha! Nothing we can do about that!
@@ThatPedalShow Bugger! AI is my only hope. That DAWs soon come with a virtual Engineer to facilitate flow.
AI could have the answer! Actually UI has the answer. I reckon that’s the fight now. The tech is there. The interface with it is the challenge.
@@ThatPedalShow Beware of people who market "AI solutions" who cannot explain how AI is programmed, trained, and tested and why it "hallucinates". The more one learns about the details, the more clear it is that most "AI" is no more a technological innovation than is gluten-free bacon.
So well done! I’d love to see more on this topic. Maybe an in-depth description of the tracking enhancements made at the tps studio over the last year?
And dammit guys! More recorded music from you two would be great!
After Seeing The Title I Know It's Going To Be An Awesome Episode!
What a timely episode. After having spent so much time and money to get a good tone from my guitars, pedals and amps, I am now in the process of « how to put that perfect tone I get in the room on recording ». I have then understood that I just opened a new rabbit hole 😂 ! But it looks like another exciting journey to come ❤
Nearly every word went way over my head, but still utterly fascinating
Yes, and you have covered setup for amp recording before but mic selection and room placement for the Blumelein Pair will be fascinating when I clear out the garage and use phase adjustment gear!
Thanks again for the inspiration.
Oh yes, this was amazing!
I went to the factory in the mid 90s for 3 days Logic 1/Audiofile training. Happy memories
In my own experience stereo room mics on guitar cabs is my favorite thing. The close mic makes me neurotic about tonal balance, but the room mic sounds like instant magic. The room mic always sounds closer to what my ears hear naturally.
This is nerdy as heck and im in love
Fantastic episode ! Glad you brought the SG 👹
That sounded sooooo GOOOD!
Whoever makes those signal path diagrams is a genius. I do think, that I understand signal paths quite well, but it still just makes it infinitely less of a headache to understand something immediately.
Ha! No genius here, but we’re glad that it helps!
This is awesome guys
What a great episode!
Great vid! Love my 1073DPX!
Hot off the press! Let's go 🎉
What a trooper Dan is. I find the cold isn’t conducive to easy playing.
@thatpedalshow Would love to see the update on your current recording signal chain for TPS. Thanks for the great content as usual!
1073. Greatest preamp of all time. Great show!
More content like this please.
Wonder...Full!!! As my 3 year old great nephew says when he has experienced something great.....Again...Again...Again... ✌
That was quality 😊👍
All this unbelievable recording technology and here I am listening to this video via the speakers on my phone
There is that. But, we’re great advocates of the view that a truly great source will always trickle with more meaningful impact than a lesser source. :0)
Agreed completely - I have gotten an obscene amount of priceless information from TPS over the years so I thank you for all the knowledge you’ve shared. Just thought it was a funny juxtaposition between the world’s leading recording technology being conveyed by speakers that are not quite as spectacular. That being said I’ll shuffle over to the computer and watch this video with proper stereo monitors as it deserves. Thanks again for all the knowledge and advice!
Nice one Chad!
At least it's not a bass video, wouldn't be able to hear anything.
This is brilliant as usual guys. I'm halfway through, but wanted to say thanks.
Interesting how Mick, the audio engineer and his gear focus on 1.21 GW - sorry, 3.2 kHz. I like how the levels are adjusted by ear, but wonder how often they are adjusted algorithmically. 🤔
This is fantastic! Ah...The tone....
Mick! Props to you for editing this video. Well I assume you edited this. But yeah man, wow what a lot of work.
Yah yah! Thank you!
This gear is so cool. Obviously this is for someone who wants a real professional studio, I kind of imagine someone like Billie Eilish who is recording at a home studio but for real, but even watching a pro like this walk through how it works helps understand how the AUs in Logic (or whatever you have) are supposed to work. It would be so fun to spend a day following Joe around the studio watching him work - this is almost as good! Thanks TPS guys!
Adding this … Mick and Dave, your hands plus that SG direct into that Fender at the end is just perfect.
This is different but wow!
Thanks!
Very interesting. I’d use the preamp’s eq to get the best signal to noise ratio, so you have the best possible data to work with in post-production. Set up in that way, it probably wouldn’t sound that good while recording, but you’ll get an optimised data stream to work with for making it sound nice later on in production / mixing.
I just got the Chandler TG-2 mic pres, the ones used at Abbey Road. I'm tracking and now hybrid mixing through them. It's so rich. I also have a 1073 I love from BAE. Good timing on this vid. I just did one too
Niiice! I’m on the hybrid mixing journey too - Mick here. I feel like there’s less work to do, but that might just be an increased level of enthusiasm! Hahaha
@ThatPedalShow Mick I took almost every plugin I was using for saturation and weight off. Still a little decapitator on drums and bass for effect. I noticed coming through analog actually compresses the wav files less, you can see it if you A/B the masters
Super interesting
Oh dear goodness, where to start? Mick and Joe in the grand ballroom whilst Dan is freezing down in steerage! I've been looking forward to this one for weeks. Having just learned by doing/mistaking while recording six songs, so many questions emerged. I guess more than anything else, that fact highlights that I'm not an engineer. Monitoring latency during vocals was the chief nemesis. It really affects performance by making timing a guessing game. The universal mental bandaid is to call them all "Demos"!
Once on the edge of the rabbit hole of recording gear GAS, cost rears its fretful head. There's so much to accomplish inside the box but outboard is so COOL! And preamps can add so much character. 500 series stuff is my target half way house. Cranborne have a very cool chassis with power, innovative switching and monitoring, which also is an interface. With ADAT, so there's some flexibility. Still, populating even eight slots can add up. Are "to learn" and "for fun" adequate reasons? (naturally, guitars and amps are different!)
Thanks, guys, for taking TPS out in the field.
Totally G! We dipped the toe in a couple years back and it’s now become a, ahem, problem. Gagagagah! If you go UA you can do zero latency monitoring/tracking. Clever stuff. We love it. :0)
@@ThatPedalShow I've learned so much about latency. Yet still have questions about sample rate during recording vs. mixing. Literally, the lyric "of" could sound like "hov" as I tried to sing in time. Apollo was to be my next step, but then the Cranborne has similar DSP and zero latency monitoring. And... it can be stocked with Chandler Ltd. preamps, EQ and compressor...!!! And/or Neve, SSL, Shadow Hills... There really shouldn't be this much candy in the candy store! It's one big attractive nuisance!
Loved this! Maybe I can save someone some grief by noting that in order to overdrive the preamp without digital clipping, as discussed at 10:20, you may need to reduce the line in level on your audio interface (if it has that capability). For example, the Lynx Hilo has a "Line in trim" feature that allows up to 24 dB reduction. This frees me to find the sweet spot on my Neve 1073 DPX without having to worry about clipping.
OOOO the new 1073SPX-D on top there. Really nice little channel strip plus AD/DA!
Optimizing the ADC input is a challenge and even harder with digital pedals. But think of this, the amount of information per sample can make a real difference. Most ADC chips have a +/-1.65Vac in a differential input. Most codec type ADC/DAC chips have a totally different input requirements.
My setup here is 500 series rack with a ton of good pres, EQ and compressors summed by a Purple Mixer direct into the ADC in stereo.
What a great experience! Mick & Dan so what did you leave with equipment wise? :)
Thanks so much, want to get one of those 1073SPX-D.
It looks great Gordon! Well, we didn’t leave with anything, but we did accidentally buy a used 8816 and fader pack the following day. Hahahah! We inch towards a console of sorts. :0)
Fascinating recoding has always been double Dutch to me, but I hung on and I think I got it. The tonal effect of that equipment was front and centre. Mick would all that glass in the canteen acted as reverb? As always thank you D&M and props to Dan for playing swaying in the cold while we were all in the control room.
Hello Dan. Yes all the reflective surfaces in the canteen - glass, hard floors, various bits of furniture - will reflect sound in a multitude of ways so when they all mass together it’s exactly that - reverb. Or at least, the sound of multiple reflections all mingling together.
Contrast that with a single, flat, reflective surface at 180 degrees to the source - a far wall for example. Then you’d get a noticeable single repeat - slap back!
There's a reason I own a bogner Burnley overdrive and with the neve transformer in it it's worth it's weight in sonic goodness😊
Just in case some people don't know, the button to switch on Phantom power on your audio interface often just says +45V and supplies power to condenser mics up the same cable the sound comes down
Thank you!
Be careful with it though, it can destroy dynamic mics....
I saw Neve and clicked the Like button before even starting the vid 😂 as a studio tech head this is gold!
How many times have they said, "It's all about gain staging" How true that is no matter how far down the rabbit hole you go.
Well done gents as always. More of this would be great. Still not sure what the third box was...under the compressor...a Para EQ perhaps? I must have missed that.
It’s an EQ yes, but I don’t think we used it today!
@@ThatPedalShow thought so thanks!
Great episode. Doesn’t get better than Neve. Now you need to book an SSL episode!
Wonder how much gear you left with and a big dent in the wallet 😂
Great stuff!
Ha! We’ve been slowly acquiring bits and bobs over the last year or so. A mix of used bits and deals here and there. Just also found a used 8816 Summing Mixer and fader pack after getting a demo while visiting. So we’re inching towards an ersatz console of sorts. Once you hear it, can’t go back. Arggghhhh
Ow I agree I have a history with recording studios in Sweden. Great stuff. It’s truly a bug once you get started. Great content as always, I have a T-shirt and mug on the way from you fine folks. All the best!
Thank you kindly for buying stuff - it keeps us going!
thank fuzz it's friday!
Excellent episode. I was hoping there’d be a discussion on the close mic placement. It’s still well further away than I’m used to and would be interested in knowing the rationale or thought process
Hi Duncan. There’s a little bit in the description text about this, but briefly…
We use pretty sensitive mics - phantom powered ribbons and sometimes large diaphragm capacitor mics. We also crank the amps a bit so I find that a bit further away does a couple of things. Firstly drops off a bit of bass (and means little danger of the proximity effect) which can be overwhelming when the amp is really cranked, and you have to get rid of it with EQ. So it helps with that.
In addition, the further you move back from the speaker, the less absolutely critical the placement is. It’s still important, but you have a little more scope further back.
Ultimately though it depends on application. If you want that very up front, immediate.rock kinda sound, and you’re using something like an SM57, having it right in close might be more appropriate.
What we’re looking for is a closer representation of the amp in the room, so a bit of distance gives, yep, a little more space in the sound. Cheers!
Wow, this is great stuff! I am primarily playing to record, not live performance. I see that Dan has the SG bug? What year is that puppy? I have a 2021 61 reissue which i love but i know it's not a patch on the ass of older ones.
Haha! He had a 61 reissue before this and it was a really really good guitar. Sure this is a teeny bit different - it’s a 62. Mmmmmmm
@@ThatPedalShow only slightly Jelly. I tend to tan green when exposed to sunlight.😬
It’s weird seeing Dan take his new SG instead of the Tele, but hey, it’s a new era!
EQ is about gain. Very useful point.
Nerdy point but the Blumlein pair" is named after Alan Blumlein. In the early 1930s he invented stereo and was responsible for many other developments in the world of audio and electronics. He is barely known today which is a huge shame, anyone interested in this stuff should know who he is.
Thank you Philip!
Haha Aussie Dan dressed like he’s in the Arctic - Mick, hold my beverage… t-shirt
reminds me why I moved to Aus...
When did we get this les Paul sg? Is there a video on it? My favourite!
It’s a recent acquisition. No specific video yet….
We need a show on the 8816 and fader pack to show how you use summing mixer in a hybrid mixing solution.
Nice! To be truthful, I think I broke my brain yesterday trying to figure it out for myself. Had to stop to do other things, but a couple more days and I reckon I’ll have it! Hahaha! Mick here.
Camping out for Robben Ford...
When he sends the guitar recording to the preamp, does he have to do that for each track individually? Or does he consolidate them and do it all at once?
You could do either. In this specific case it was just the main (close) mic being sent.
Might be that in post you’d send all three, but usually it’s per track. Hope that explains it!
Mmm.. nice vid again..
But in wonder why are there no videos about expression pedals and the use cases.. do you think because they do nothing on their own and do basically all the same.. like fuzz XD.. they are not worth a shootout?
(Thorpy tacid blue my next acquisition)
I am on the search of a few expression pedals for me since i want to get into that a bit more.. (since i own the two Automatone, having no exp pedal is almost a shame)
ua-cam.com/video/k92L8ddw_Ws/v-deo.htmlsi=KzzFXBk3fVTy_OUJ
Try this
Would love to see a show about getting great tones though a loop switcher. I’ve got great pedals that sound good through the amp when used individually, but when I try to use the various loop combos things start to sound worse. I think it’s a matter of pedal orders, multiple buffers, competing eq settings, etc. there are just too many combos to keep track of. Have any strategies for loop pedal set up, maintenance (remembering patches) and swapping in new pedals?
Hello B, erm, pretty much every TPS is about that, given that we use G3 or QMX almost every episode!
However, there are a couple of interesting things to demonstrate in the shadows of your question.
1. The capacitance / loading effects of using longer cable runs and true bypass pedals in line with no switcher. Some people LOVE this, and once you put it all in a switcher, all this clarity and definition comes back. Which some people love and some people hate…
2. Which brings us on to buffers. Buffers are designed to take care of all of the above, but have their own tonal impact which, again, some people love and some people hate…
3…. And of course, some switchers have buffers in too. Argh. Now we’re confused.
So we have done shows on all of the above, multiple times and yet, along with basic gain staging, it’s still the thing people are most confused by, most often. There must be a way we can explain it more clearly!?!?!?
@@ThatPedalShow
You’ll need to buffer the explanation, this time. 😄
What type of loop switcher?
Hey all- thanks so much for the response. Appreciate all that you do here to teach on this and I think you do a great job explaining it all. It’s more the combinations of options that gets me frustrated. Say I have a scooped mid distortion and mid boost distortion in different loops. They sound great on their own. Then I want to try to stack them in a preset, but the eq settings don’t work well so I tweak things, but then they don’t sound right when I go back to previous presets. I think the obvious conclusion is that I’m hitting a limit as to what I can do with my rig and I should chill out and play. I’ve tinkered with MIdI and have had some success but find it too mind numbing to be fun. (It’s the boss 5 loop one. bTW )
The routing in pro tools looks quite different to how Studio One handles that “hardware insert” scenario. In Studio One you simply drop their routing plugin (called Pipeline) on the channel and it handles the output/input routing and the latency compensation. So you can listen in context and its all lined up
Pro tools has Hardware I/Os aswell, with delay compensation and all that stuff. It is the same.
Dan's playing was pretty impressive considering he looked like he was freezing!
What sort of tone wood was that pallet made out of Mick? (Sounded a bit like a crate). Nice job, as usual.
Hahahaha! Yes, genuine cratewood. ;0)
At the risk of going off on a slight tangent, do you have any advice for dealing with hum from a noisy amp when recording through a mic?
Hello!
1. The amp shouldn’t be noisy in the first place…. But there are times when it can be….
2. If the noise is caused by gain in the amp, or gain pedals, the hum should be low enough in relation to the actual sound of the guitar to not matter. In the quiet bits you can just use level automation while editing to bring it down
3. If the noise is caused by RF with single coils and pedals etc, just try to find a position while recording that minimises it, ie, away from computer monitors, lights etc. And use the volume knob down to zero when you’re not playing.
4. Amp noise is one thing, but if the amp isn’t very loud and you’re having to crank the input gain on the interface, it could be that the interface itself is adding noise. Fix for that is either louder amp or a higher quality interface/mic pre.
Hope that helps!
In addition there is software to reduce noise - check out Izotope’s offerings. But much better to fix it in pre! Good luck.
That's great, thanks. I really appreciate the detail of your reply. I think a trip to the my local amp tech is definitely called for 😊 and playing louder! The single coil hum is present but not as noticeable. I'll have to look at how to manage proximity to other electrical equipment while recording in a tiny home office that's crammed with everything the wife won't allow in the rest of the house 😂
More echofix plzzzz not enough online about it
Ahh the tone pallet! 😂😂😂 👍🤘🏻🎸
Pallet Of Tone, if you don’t mind. How very dare you, etc… Hahahahahahaha!
@@ThatPedalShow exactly. Lovely play on words!
22:22 Best tone IMHO
Yep. Straight up mix of all the mics. Minimal EQ. Lovely!
Ooooooooh. Nice. They helped Yamaha develop the pups for the new Pacifica.
No, that company is Rupert Neve Designs and is a separate company that Rupert Neve founded after he left Neve
Yes, this!
@@erensahin1217 ahhh. Still got his dna and approach over it I guess
@@andsoistopped Its developed by one of the lead designers at RND and he was an apprentice of Rupert Neve when he was alive i think.
@@ThatPedalShow every day’s a school day. 😍
Nice video, but surely you need to go back and complete it with a full TPS approved wet-dry or even wet-dry-wet rig with modulation, reverb, delay etc.
Now there’s an idea!