RECORDING RECORDING ELECTRIC GUITARELECTRIC GUITAR

Introduction Introduction

Amplifiers & SpeakersAmplifiers & Speakers Guitar amps tend to use 10-inch or 12-inch speakers Guitar amps tend to use 10-inch or 12-inch speakers

without tweeters or crossovers, so they have a very without tweeters or crossovers, so they have a very limited upper-frequency response. These speakers limited upper-frequency response. These speakers may be used singly or in multiples, in either sealed or may be used singly or in multiples, in either sealed or open-backed cabinets. The familiar overdrive sound open-backed cabinets. The familiar overdrive sound was almost certainly discovered by accident when was almost certainly discovered by accident when early amplifiers were driven beyond their design early amplifiers were driven beyond their design limits in an attempt to obtain more volume, but limits in an attempt to obtain more volume, but because of the restricted top end of the speaker because of the restricted top end of the speaker systems employed at the time, the distortion was systems employed at the time, the distortion was stripped of its more abrasive upper harmonics and stripped of its more abrasive upper harmonics and actually sounded quite musical. So, what started out actually sounded quite musical. So, what started out as a side effect of limited technology soon became as a side effect of limited technology soon became adopted by blues players and turned into a adopted by blues players and turned into a distinctive style, which later evolved into rock, and distinctive style, which later evolved into rock, and then into heavy metal with all its spin-off genres.then into heavy metal with all its spin-off genres.

Pickups & NoisePickups & Noise The guitar's contribution to the sound comes from its The guitar's contribution to the sound comes from its

mechanical construction, including the type of wood used, mechanical construction, including the type of wood used, and the pickup system fitted. The hugely popular Fender and the pickup system fitted. The hugely popular Fender Stratocaster uses simple single-coil pickups, which tend to Stratocaster uses simple single-coil pickups, which tend to give it a bright, articulate sound that doesn't take up too give it a bright, articulate sound that doesn't take up too much room in a mix. Guitars with humbucking pickups, on much room in a mix. Guitars with humbucking pickups, on the other hand, tend to have a thicker, more solid sound the other hand, tend to have a thicker, more solid sound that can overpower other guitar parts or other mid-range that can overpower other guitar parts or other mid-range instrument sounds. Tonal qualities aside, humbuckers by instrument sounds. Tonal qualities aside, humbuckers by their very nature are designed to reject electromagnetic their very nature are designed to reject electromagnetic interference, while single-coil pickups are very susceptible interference, while single-coil pickups are very susceptible to it. Specialist stacked humbuckers, such as those made to it. Specialist stacked humbuckers, such as those made by Kinman, Dimarzio, Fender and others, are available for by Kinman, Dimarzio, Fender and others, are available for use where something close to the original tonality is desired use where something close to the original tonality is desired but without the noise problems, and for serious studio work but without the noise problems, and for serious studio work these are a good option. these are a good option.

Pick-ups etcPick-ups etc Guitars tend to be relatively noisy sound sources so Guitars tend to be relatively noisy sound sources so

if an attempt is going to be made to remove some if an attempt is going to be made to remove some of the noise by electronic means (such as a gate, of the noise by electronic means (such as a gate, expander or single-ended noise-reduction unit), it expander or single-ended noise-reduction unit), it may be best to leave this until the mixing stage, so may be best to leave this until the mixing stage, so that an incorrectly set gate or noise filter doesn't that an incorrectly set gate or noise filter doesn't ruin a good take. However, gates should be used ruin a good take. However, gates should be used before delay or reverb effects to prevent the tail before delay or reverb effects to prevent the tail end of the sound being shut off abruptly when it end of the sound being shut off abruptly when it falls below the gate threshold. falls below the gate threshold.

Digital noise removal plug-ins (again best used Digital noise removal plug-ins (again best used before delay effects are added), produce even before delay effects are added), produce even fewer side-effects and so may be the best option fewer side-effects and so may be the best option when recording into a computer-based system. when recording into a computer-based system.

A good starting point when recording is to place the A good starting point when recording is to place the mic close to the grille and positioned over the centre mic close to the grille and positioned over the centre of the speaker. However, it's worth moving the mic a of the speaker. However, it's worth moving the mic a

little off centre if you're after a less toppy sound. little off centre if you're after a less toppy sound.

Recording MethodsRecording Methods The traditional method, and still the most The traditional method, and still the most

satisfactory in many cases, is to mic up a satisfactory in many cases, is to mic up a really good amplifier, but where this isn't really good amplifier, but where this isn't appropriate, we have a choice of physical appropriate, we have a choice of physical modelling guitar preamplifiers, complete modelling guitar preamplifiers, complete guitar/pickup/amp modelling systems guitar/pickup/amp modelling systems using Roland's VG series of products, or using Roland's VG series of products, or the slightly lower-tech approach of using the slightly lower-tech approach of using analogue guitar recording preamps (solid analogue guitar recording preamps (solid state or valve). The latest option is to plug state or valve). The latest option is to plug the guitar directly into the computer and the guitar directly into the computer and use a software plug-in to handle the amp use a software plug-in to handle the amp and speaker modeling and speaker modeling

Raising the speaker cabinet off the ground varies Raising the speaker cabinet off the ground varies the path length of reflected sound reaching the the path length of reflected sound reaching the

microphone, which can usefully alter the sound in microphone, which can usefully alter the sound in some cases.some cases.

Recording Recording When recording an electric guitar, the amp is the When recording an electric guitar, the amp is the

instrument as far as the mic is concerned, and mic position instrument as far as the mic is concerned, and mic position is important. While a lot of sound comes direct from the is important. While a lot of sound comes direct from the speakers as you'd expect, a significant level is also emitted speakers as you'd expect, a significant level is also emitted from the back and sides of the box via panel vibrations. from the back and sides of the box via panel vibrations. Also, an open-backed cabinet throws about as much sound Also, an open-backed cabinet throws about as much sound out of the back of the box as it does out of the front. out of the back of the box as it does out of the front. Choosing a mic for recording electric guitar isn't difficult, as Choosing a mic for recording electric guitar isn't difficult, as virtually any decent mic of any type can be made to virtually any decent mic of any type can be made to produce usable results. If I were to generalise, I'd say that produce usable results. If I were to generalise, I'd say that British recording engineers tend to use cardioid, dynamic British recording engineers tend to use cardioid, dynamic models while American engineers seem to prefer capacitor models while American engineers seem to prefer capacitor microphones. The dynamic mic produces a solid sound with microphones. The dynamic mic produces a solid sound with a smooth high end, while the capacitor mic's increased a smooth high end, while the capacitor mic's increased definition produces a brighter, more open sound when used definition produces a brighter, more open sound when used in the same way. However, the mic position has just as in the same way. However, the mic position has just as much bearing on the tone as the mic itself.much bearing on the tone as the mic itself.

Recording guitarRecording guitar One way to capture the sound of a large stack, One way to capture the sound of a large stack,

unsurprisingly, is to set up the stack in a large room, unsurprisingly, is to set up the stack in a large room, play loud and put the mic several feet away so that play loud and put the mic several feet away so that the combination of all the speakers can be recorded, the combination of all the speakers can be recorded, along with any floor reflections and the subtle along with any floor reflections and the subtle filtering effects these may cause. Using this method, filtering effects these may cause. Using this method, the mic 'hears' the guitar sound much as an the mic 'hears' the guitar sound much as an audience would. Nevertheless, the most common audience would. Nevertheless, the most common approach is to close-mike the amp with the mic set approach is to close-mike the amp with the mic set up very close to the speaker grille and pointed up very close to the speaker grille and pointed directly at the centre of the speaker cone — where directly at the centre of the speaker cone — where the cabinet has multiple speakers, it's traditional to the cabinet has multiple speakers, it's traditional to deliberate over which one sounds best and then mic deliberate over which one sounds best and then mic that one!). Moving the mic to one side produces a that one!). Moving the mic to one side produces a less toppy sound, so before reaching for the EQ knob less toppy sound, so before reaching for the EQ knob you should try moving the mic.you should try moving the mic.

Recording Recording Where the cabinet is open backed, it's also worth Where the cabinet is open backed, it's also worth

experimenting with miking from the rear, as this produces experimenting with miking from the rear, as this produces yet another range of tonal flavours, usually warmer and yet another range of tonal flavours, usually warmer and less bright than miking from the front. It's also quite less bright than miking from the front. It's also quite permissible to mic both the front and rear of the cabinet permissible to mic both the front and rear of the cabinet simultaneously, but experiment with phase inversion on simultaneously, but experiment with phase inversion on one of the mics to see which setting gives the best one of the mics to see which setting gives the best subjective sound. Strictly speaking, one of the mics should subjective sound. Strictly speaking, one of the mics should be inverted with respect to the other, but that doesn't be inverted with respect to the other, but that doesn't always produce the best result. If you really want to hedge always produce the best result. If you really want to hedge your bets, use an ambience mic several feet from the your bets, use an ambience mic several feet from the cabinet and combine this with the close-miked sound, cabinet and combine this with the close-miked sound, either summed to mono or with the two mics panned left either summed to mono or with the two mics panned left and right. Using a capacitor mic as the distant mic often and right. Using a capacitor mic as the distant mic often produces a more believable sense of space, but anything produces a more believable sense of space, but anything that sounds good goes with guitars.that sounds good goes with guitars.

More practical methodsMore practical methods A practical method is to combine the above A practical method is to combine the above

techniques by using two close mics, one on-axis techniques by using two close mics, one on-axis and one off-axis, plus one distant mic a few feet and one off-axis, plus one distant mic a few feet from the cabinet. If the close mics have very from the cabinet. If the close mics have very different characteristics, for example a capacitor different characteristics, for example a capacitor mic on-axis and a dynamic mic off-axis, you'll get mic on-axis and a dynamic mic off-axis, you'll get an even greater choice of tonality, as you can vary an even greater choice of tonality, as you can vary the mic balance being recorded. Switching the the mic balance being recorded. Switching the phase of individual mics can often yield interesting phase of individual mics can often yield interesting combinations and you can also delay the ambience combinations and you can also delay the ambience to increase its effective distance when it is to increase its effective distance when it is combined with the other mics. Each millisecond of combined with the other mics. Each millisecond of delay is roughly equivalent to 12 inches of added delay is roughly equivalent to 12 inches of added distance.distance.

DI TechniquesDI Techniques While a straight DI approach can work for clean sounds, While a straight DI approach can work for clean sounds,

simply plugging a guitar into an overdrive pedal and then simply plugging a guitar into an overdrive pedal and then routing the output of the pedal into your recording system routing the output of the pedal into your recording system will sound unnaturally thin and raspy because there are no will sound unnaturally thin and raspy because there are no speakers to take away the unwanted high end, but that speakers to take away the unwanted high end, but that hasn't stopped some people using it as a 'trademark' hasn't stopped some people using it as a 'trademark' sound! For a more conventional sound, a speaker simulator sound! For a more conventional sound, a speaker simulator is needed to filter out the unwanted higher harmonics. A is needed to filter out the unwanted higher harmonics. A passive speaker simulator, such as the original Palmer passive speaker simulator, such as the original Palmer Junction box can be placed directly after an overdrive pedal Junction box can be placed directly after an overdrive pedal or a regular guitar amp preamp output, but it will need to or a regular guitar amp preamp output, but it will need to be recorded using a mic input rather than a line input be recorded using a mic input rather than a line input (passive filtering always results in a reduction in level). (passive filtering always results in a reduction in level). Active equivalents (usually battery or phantom powered) Active equivalents (usually battery or phantom powered) are also available, which may offer a greater range of are also available, which may offer a greater range of tonalities.tonalities.

Mix ProcessingMix Processing Adding effects at the mixing stage gives the Adding effects at the mixing stage gives the

engineer greater creative flexibility, but if the engineer greater creative flexibility, but if the guitarist needs to hear the effects to play, then you guitarist needs to hear the effects to play, then you may get a better artistic performance by recording may get a better artistic performance by recording them with the take. All I'd say on this point is that them with the take. All I'd say on this point is that editing is much more difficult if the sound is editing is much more difficult if the sound is recorded with delay or reverb, so an alternative is recorded with delay or reverb, so an alternative is not to record these effects initially, but still add not to record these effects initially, but still add them to the monitor mix for the player's benefit them to the monitor mix for the player's benefit during performance. Effects like chorus and wah-during performance. Effects like chorus and wah-wah can be recorded straight off, if required, as wah can be recorded straight off, if required, as they don't affect the ease with which a part can be they don't affect the ease with which a part can be edited. Ultimately, the performance is what really edited. Ultimately, the performance is what really counts, so compromise in favour of the player's counts, so compromise in favour of the player's artistic needs rather than your technical needs artistic needs rather than your technical needs where a choice has to be made.where a choice has to be made.

Mix processingMix processing There is no 'right' electric guitar sound because the There is no 'right' electric guitar sound because the

instrument has no natural sound, so you can use as instrument has no natural sound, so you can use as much EQ as you like without feeling guilty. Even so, much EQ as you like without feeling guilty. Even so, getting something close to the desired sound at getting something close to the desired sound at source is always the best way to work. Should you source is always the best way to work. Should you need to use EQ, here are a few comments need to use EQ, here are a few comments concerning the frequency areas you might want to concerning the frequency areas you might want to tweak. Boxiness tends to occur between 100Hz and tweak. Boxiness tends to occur between 100Hz and 250Hz, so if this is a problem, use a parametric to 250Hz, so if this is a problem, use a parametric to tame it. Experiment with the Q setting as you may be tame it. Experiment with the Q setting as you may be able to notch out a narrower section than you think able to notch out a narrower section than you think to get the desired result. Cabinet thump can be to get the desired result. Cabinet thump can be accentuated by boosting at around 80-100Hz, but accentuated by boosting at around 80-100Hz, but take care not to boost anything much lower than take care not to boost anything much lower than this, as you'll just bring up unwanted resonances and this, as you'll just bring up unwanted resonances and hum.hum.

Mix processingMix processing Add bite or presence by boosting between 2kHz Add bite or presence by boosting between 2kHz

and 6kHz, depending on the tone you're after. and 6kHz, depending on the tone you're after. Little over 4-5kHz is produced by a guitar speaker, Little over 4-5kHz is produced by a guitar speaker, though going for a brighter DI'd clean sound is though going for a brighter DI'd clean sound is quite legitimate for artistic reasons. Similar-quite legitimate for artistic reasons. Similar-sounding electric guitars that may be conflicting sounding electric guitars that may be conflicting within a mix can be separated to a limited extent within a mix can be separated to a limited extent by adding bite at different frequencies, though by adding bite at different frequencies, though choosing two different-sounding guitars and/or choosing two different-sounding guitars and/or amp sounds and examining the arrangement amp sounds and examining the arrangement carefully usually works better. As a rule, single-coil carefully usually works better. As a rule, single-coil guitars are best for cutting through a busy mix guitars are best for cutting through a busy mix without taking up too much space, while without taking up too much space, while humbucking pickups create a thicker sound which humbucking pickups create a thicker sound which may be beneficial in recordings where there is only may be beneficial in recordings where there is only one guitar part. one guitar part.

Compression…Compression… You can use compression not only to keep levels under control but also You can use compression not only to keep levels under control but also

to increase sustain. Sometimes a guitar part will work better in a track to increase sustain. Sometimes a guitar part will work better in a track if the sustain is created using a little less overdrive augmented by if the sustain is created using a little less overdrive augmented by compression rather than relying on overdrive alone. Even a heavily compression rather than relying on overdrive alone. Even a heavily overdriven guitar sound can be made to appear more powerful if overdriven guitar sound can be made to appear more powerful if compressed, as its average energy level is increased further, though compressed, as its average energy level is increased further, though any noise will also be rendered more obvious. Clean guitar parts can any noise will also be rendered more obvious. Clean guitar parts can also benefit enormously from compression, as it creates a more dense, also benefit enormously from compression, as it creates a more dense, even sound and can emphasise the picking attack of the notes when a even sound and can emphasise the picking attack of the notes when a longer attack time is set. Using a faster release time, so as to cause longer attack time is set. Using a faster release time, so as to cause audible level pumping, can make for exciting rock guitar sounds, but audible level pumping, can make for exciting rock guitar sounds, but some compressors pump more gracefully than others — Dbx models some compressors pump more gracefully than others — Dbx models are quite popular in this respect. To create a fairly live, in-your-face are quite popular in this respect. To create a fairly live, in-your-face sound, a short reverb or ambience program with a fairly bright sound, a short reverb or ambience program with a fairly bright character is ideal. A hint of slapback echo or a little pre-delay before character is ideal. A hint of slapback echo or a little pre-delay before the first reflection can enhance the sense of power and intimacy, as the first reflection can enhance the sense of power and intimacy, as when a guitar is played in a small club. More generous reverb can be when a guitar is played in a small club. More generous reverb can be combined with repeat echo effects to create a lush, spacious sound, combined with repeat echo effects to create a lush, spacious sound, but you need to leave space in the instrumentation and arrangements but you need to leave space in the instrumentation and arrangements for these sounds to work, otherwise they just sound confused and for these sounds to work, otherwise they just sound confused and messy. Feeding the effects send through a chorus or flanger before the messy. Feeding the effects send through a chorus or flanger before the reverb gives a nicely complex twist to the sound without being too reverb gives a nicely complex twist to the sound without being too obvious.obvious.