Use These Recording Techniques for Perfect Guitar Tone Every Time
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- Опубліковано 8 вер 2024
- Listen to how microphone selection and placement impact the sound of a guitar amp.
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Shure SM57 Dynamic Microphone
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Shure SM58 Dynamic Microphone
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Sennheiser e 609 Dynamic Microphone
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Royer 121 Ribbon Microphone
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Cloud 44 Ribbon Microphone
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RØDE NT1 (5th Gen) Condenser Microphone
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Fender Hot Rod Deluxe Guitar Amplifier
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Disclaimer: This description contains affiliate links, which means that if you click them, I will receive a small commission at no cost to you.
Some tips off the top of my head: the sound that you like by itself is almost never the sound you need in the mix. Try to make final tweaks along with the music. Don’t underestimate a single mic in the right place. A slightly dirty sound is almost always better than a pure clean sound in the mix. A slightly cleaner sound is almost always better than a supersaturated sound in the mix.
Great tips, audioglenngineer! Thanks for sharing.
but i want my super saturation T.T
@@noodletribunal9793 lol GO FOR IT
Great tip!
Hey buddy 😂😂😂😂
i enjoy how you get across all of what matters and none of what doesn't. You put a lot of work into your video notes, that also helps so much. The amps were well chosen too and it's great to hear direct real amps going through mics.
Thank you! I’m glad you like it.
A lot of good advice here - and explained very well. I particularly liked that you didn't try to show your chops or your favorite kind of music - just gave examples of chords and single lines. Great job!
Glad you enjoyed it! Thanks, Robert.
I’m a professional guitarist. I play lots of gigs in South Carolina. What I have found works the best for me is simply one sennheiser 609 mic and I place it nearly touching the speaker in front of the actual speaker cone. Doing this is efficient and allows me to get a clean input level at a very low amp volume. This helps tremendously for mixing a live band and having relativity low stage volume.
My amp has a line out, which is fairly common. When I mic an amp I usually also run the line signal to one of my recording inputs. It's pretty rare that the line signal ever makes it into my final mix, although that has happened. But just having that line signal is useful as a way of judging the effect of various mic placement options and room acoustics.
It's crazy, I was recording guitar earlier today (Australia), and thought I'll sleep on it, and lo and behold Audio University to the rescue lol
Hopefully this helps, M.A.S!
Just another perfect and informative video that the world needed! You are doing the work that truly helps beginners and people looking to expand their knowledge! I’ve seen 100s of micing cabs and speaker videos in my life but you really got to the point and showed how to get the best results!! Keep up the great work!
Thanks, Jacob! I’m glad you’re finding these videos helpful.
Your videos are golden!!!! Love your channel. The vowel shapes for different frequencies has fully changed my life man
I’m very glad to hear that, Hyland! Let me know if you’ve got any requests.
The mics' diaphragms need to be equal distance from the sound source. Or you can just move one of the tracks slightly forward or back in you DAW to align it with the other.
Great tips overall!
Thanks, nedomedo!
When using multi mics I suggest adding smaart to the single chain. Using a Transfer function you can get some really cool telemetry for placement, you can see the resulting phase and rarefactions created with placement offset.
lately ive been using rndi to get tube amp speaker sound and using a mic for it and ive gotten pretty nice results
The RNDI is awesome! Thanks for watching and sharing!
I recently bought the Nux mg400 and it allows me to move a digital mic around the front of the various IR cabs it came with.
Great informative vdo 👍
Sounds awesome, David!
I haven't put a mic on the back of a guitar cab ever but I HAVE seen it done many times and I believe one trick you might try whenever you do that or "bottom" mic on a snare, you might try using the "invert" button in your daw to invert the polarity of the signal since the back of the speaker will be "moving away" from the mic at the same time it moves "towards" the front mic, this is likely to cause "cancellation" of key frequencies..?? but you know frequency and distance matter as well so but its worth auditioning the signal with and without the button pressed in post so you can decide if you want the phase flipped 180 degrees.
Very helpful visuals along with your descriptions. Nice work!
Thanks, Gerard!
When the speaker moves forward (on a positive going waveform) it will move away from the rear mic. The rear mic polarity should be inverted to let low end add. This is much like top and bottom snare micing.
Always learning something new!! Thanx for the tips!!
This is a good introduction to guitar amp micing. That example beginning at 4:26 is likely the most intimidating example here to most recording engineers (be they amateur or professional). In fact, this might be the very first video I have seen (of hundreds on UA-cam) that even suggests off axis mic placements at all. Using a microphone's polar pattern and sensitivity specifics to appropriately capture the tonal range of a guitar+amplifier/speaker combination is all science but can FEEL like total voodoo, it's a scary proposition, we're getting into Mark Knopfler / Money For Nothing territory there. That said, it can be THE MOST rewarding and stress reducing thing that one ever does with a microphone for electrically assisted analog instruments. One thing that I feel should be put up front in any conversation about mics and guitar cabinets/speakers is that NOT all guitars will work with any one set up. A hollow Gibson ES series (say, a 335) will almost certainly not sound optimum (or even right) through a set up that is just about perfect for a Strat. The actual guitar is what dictates the overall combination of techniques to be employed as each guitar is the dictator, the tyrannical overlord, which stipulates just how the electrical signal is formed. That 45 degree off axis example with the SM58 might sound GREAT with a Strat for contemporary rock music but it might sound like a party crashing The Charlie Daniels Band invaded your pop rock mix once you plug in a Telecaster or Les Paul to it. Pickup resistance be damned, we will all be better off the more we get off of our asses to adjust the mics and LEARN what does and doesn't work (instead of FIX IT IN THE MIX, BRO!). Good job presenting some options here that, hopefully, reduce the number of headaches mix engineers have instead of increasing them! As always, if it is recorded good then it will mix good; it takes shit ingredients to make a shit cake.
Great video man, just found your channel! Reminds me a bit of Steve Albini's masterful video about miking but you give some other info too.
Yes! Steve Albini’s video is great! It goes into much more depth on how to check phase and time alignment. Welcome to the channel!
Love all your videos thanks so much💯🙏🏽
Thanks!
such a helpful video
Thank you for the great videos every time!!!
Thanks for watching, James. I’m glad you like them!
Very clear and helpful… thanks!
So very Cool, Thankyou. Awesome info. Cheers
Great tips man. Thanks for sharing.
Thanks a lot! For sure the best guitar mic tutorial on yt
Blue.encore.100i mics are really good as well
If you had Stuck any old mic in front of Hendrix's amp it would sound amazing wherever you placed it
Well that's gonna be stuck in my head now 😂
When comparing the close mic to the far mic, won't you have to increase the gain on the far mic to compensate for the increased distance, sometimes quite significantly?
Yes. Great point! In this case I had to increase the rear mic by several dB on the mic pre (and then again in post to make up for the perceived loudness difference between the two). Not only does the overall signal level drop, but you lose a ton of low end because less proximity effect.
Thank you. Very helpful. And I do need help…
Have you done a vid on micing acoustic? Mic recs?
Check out this video: ua-cam.com/video/F2fexO6D6Gs/v-deo.html
There are some mic recommendations in the description of that video.
Well done video but I would point out that after fifty years of experience as guitar player, singer, live sound, and recording engineer that I am totally convinced that the ubiquitous Shure SM 58 is one of the crappiest microphones ever produced. Its response curve is specifically tailored to the vocal midrange and is roughy equivalent to the old fashioned telephone handset.
Hello Kyle - I want to follow your invitation to add some tips. 🔊🎤
Besides the known “Fredman Technique” or the X/Y miking Method that Mutt Lange used for the album Back In Black / AC DC you may not know about the “Deeflexx Recording” as the Sound-Deflection System is better known in the EU than USA.
With hashtag #deeflexxrecording you will find some tricks - even how the mentioned AC/DC sound can be approached with just one mic.
The new album of the Irish Blues-Rock artist Eamonn McCormack was exclusively recorded using “Deeflexx Contact Miking” and “Deeflexx Overhead Miking”. Using just a dynamic mic and a System will multiply the sound spectrum that you expect from using different speakers or mics - hope that’s something new for you and your viewers … 😀
Thanks!
Great video, as is your norm. Thank you. I looked through your video inventory and did not find anything on selecting a guitar amp. I know there are vendors like Sweetwater that have guides, but do you have any advice?
I don’t have any videos. But I’d recommend researching some of the differences between solid-state and tube amps and go from there. There are also many iconic sounds that can help you find the sound you’re going for: Fender, Marshall, Vox, Mesa, Orange, Etc
Thanks alot....tried recording directly from usb to amp headphone and it dont sounds good, will try with microphone.
This video might help you, electric blue: ua-cam.com/video/_AC22VR3W3g/v-deo.html
I’m soon going to be recording my band’s next single and was planning to use a dynamic and a ribbon on the guitar amp. The room will be less than ideal - will the ribbon’s figure 8 pattern cause me any challenges? Of course I’ll listen and adjust but was wondering if there’s anything I should be looking out for? Love your videos! Thanks you!
try puttin some carpet below the mic/amp and drape up some blankets/blinds for the walls?
Hello! Nice vídeos always! Do you think it's a good ideia blending two mics, like a condenser and a dynamic to record vocals?
I haven’t tried that. But if it sounds good, it is good.
One problem I expect you might encounter is that a vocalist moves, changing the relative distance between the vocalist and each mic. That might result in a comb filtering effect. Check out this video: ua-cam.com/video/0wvlrBx3U4c/v-deo.html
@@AudioUniversity Very interesting point! I'm experimenting with a SM58 and a Lewitt LCT 640 together, because, in my perception, the LCT640 gives a full hi end highs and the SM58, that warm low mids. My intention is to get a sound close to an vintage tube mic, like a U87. Does it sound plausible to you?
Those are both great mics! The U87 is a solid-state FET, the U67 uses a tube. I think the LCT 640 is much brighter than the U87. Have you checked out Roswell microphones? They have some great sounding mics that punch well above their price range. Might be something to consider if you’re looking for that premium sound without spending thousands on a mic.
Internet is full with sites and videos that tell us what happens in this or that case. Kyle’s Audio University shows it us with field tests and examples. Like an University should be.
Thanks! I’m glad to read this!
Nice entry. Can you do recording with amp sims? (w/o the fizziness)
Thanks, Steve. Check out this video: ua-cam.com/video/_AC22VR3W3g/v-deo.html
I have tried both. It’s all a matter of preference. There are some killer sim’s out there. One of my favorite tones came from a stock American made Tele through a Magnatone amp (1x12) recorded with a single SM57. It had a sweetness that any sim that I tried didn’t have.
I love you!
Sir one doubt full range satelite speakers replacement for Dolby Atmos speakers
If using two mics, it will have two tracks, do I need to pan them? both on the middle or one left one right? Is it different to record guitar solo or guitar riff? many thanks
If you’re using two microphones for a tonal blend, you don’t need to pan them. However, you can experiment with panning them if you’d like.
@@AudioUniversity Many thanks for the reply. Well, I play guitar solo along with backing track. let's say the backing track is track one, and track two and three are two different mic tracks. In this particular scenario, do I need to pan those three tracks? How do pros deal with it? Thank you.
It’s important to emphasize that you never NEED to do anything. If it sounds good, it is good. But you can often use panning as a way to create better separation between instruments. So, it might help in this situation! Good question.
@@AudioUniversity Thank you Kyle🤘
When using two mics, such as a 57 and a 121, where do you like to pan them in relation to blending them together?
Good question! I usually treat them as a mono source, but panning them might be cool. I might suggest panning the darker mic (probably the ribbon) to the side opposite to where the guitar will be in the stereo image, as the brighter mic will probably sound more present. Ultimately, just experiment and find what sounds good. Let me know how it goes if you try it!
@@AudioUniversity
Thanks for the heads up!
Ive been using a 57 for years, but recently just bought a R121 and I’m looking forward to recording guitar w two mics.
I’ll let you know what happens with my panning experimentations and whatnot.
Thanks!
Nice! Congratulations! That’s a great mic.
How can i record with a mixer?
Hi there, may I ask you a question? I bought the iRig pro dua I/o recently, and I did connected the condenser microphone to the iRig pro and then connected the iRig pro using the the lightning cable that came with the iRig pro interface to my iPad . Here is the problem I have!!! When I starting to perform (singing using singing Application name call WESING) I can hear both side of my headphone, but when I starting to talking doing the livestream, all my audience who’s listening to me are only hear one side(left side)of the headphone/ earphone sound !!! This is the problem I have and I don’t know why? Do you able to tell what’s the problems I am run into for that?
By the way do you have any interface + mixer recommendations that I won’t get caught for the same problems I ran into it right now?
Thanks in advance.😊😊😊😊😊
Check out this video, Calvin: ua-cam.com/video/ZXWla3nsBN4/v-deo.html
@@AudioUniversity thx for the video . I watched the video but the interface I bought is returned to the seller last few days ago, now I am considering to purchasing the FOCUSRITE SCARLETT 2I2 INTERFACE + YAMAHA MG10 XU MIXER USING XLR CABLES CONNECT CONDENSER MICROPHONE TO THE MIXER.. THEN USING 2 TRS BALANCED CABLES CONNECT IT TO AUDIO INTERFACE (LEFTj INPUT 1 AND (RIGHT) INPUT 2, AND THEN CONNECT THE OTHER END OF THE TRS BALANCED CABLES TO THE (YAMAHA MIXER ) MONITOR LEFT AND RIGHT OUTPUT. AND USING APPLE LIGHTNING CAMERA ADAPTER FOR FOCUSRITE SCARLETT 2I2 USB CABLE TO CONNECT IT TO MY IPAD. DO YOU THINK THIS solution WILL SOUNDED BOTH SIDE OF THE HEADPHONE FOR MY AUDIENCE and myself when I am do the livestream/ singing in the future? Thx. Hopefully I didn’t give you too much troubles for all this matters? Calvin
😇💖
first of all, tune your guitars!
The condenser sounds baaad! Almost overdriven like
That Royer is very expensive. Don’t promote that to you d recording engineers. That’s not sustainable in this world of studio ownership.
Does it matter how you mic it, what mic you use, or any technique used when you have n awful sounding guitar/amp like this one. Spend more time getting a better amp, guitar, or guitar player.
Everybody jams a mic into the speakers guts. Is that where the audience on the gig listen from ? I'm very tired of this approach.
I believe there’s a place for both techniques. At many live gigs, the audience is listening to a mic an inch away from the speaker (and it sounds awesome). For other styles, a distant sound is more appropriate.
@@AudioUniversity So you're saying the audience is sitting on the stage ?.........I don't think so. However, my mixes are designed to put the listener in various parts of the stage. To become intimate. When i'm listening at a gig, i'm in a room....which cosists of many sounds. A lot of people jam a mic up the guts....hey it's a free world....but after nearly 60 years of doing this.......i have my own clues. Sure ...there's mo ...one size fits all. You're right. However, in my domain....work on a specific genre......and we work to the room.......very old school. When i'm talking about location....i mean the listeners ear....not the mic placement. It's like micing drums. I work with a drummer that i trust. I put a mic next to each ear and say ok Bro....you're mixing this. Give me what i need.....and he does.
Of course that’s not what I mean. I mean that at a rock show, the audience primarily hears the signal from a mic an inch from the speaker (through the PA).
You already said my main point though… there’s no one size fits all. Many times, when a mic is placed very close to the speaker, there’s a reason for it. Just as there’s a reason for you when you place with more distance.
@@AudioUniversity Of course you're right. However the average live foh mix is attrocious. Too much to contend with, in too short a time. I'm more relating to a recorded mix than live. I actually don't go to live gigs because the mixes are usually a major letdown. I don't blame anyone. One day you're ina theatre , next you're in a barm. A huge job to get your head around the difference.
@@AudioUniversity Cool. Crossed wires. I'm thinking studio and you're thinking live. Cheers.