Here I show how,with only a small amount of gear and a few small changes in setup you can create several different guitar sounds. I'm playing a 1987 Fender American Standard Stratocaster with stock pickups through a 1967 Fender Bassman with a 2x12 cabinet. The first setup is using a Sennheiser e609, a flat profile dynamic designed for close micing of cabinets, toms and horns. The first example is on the center of the speaker cone. The second is on the edge of the speaker at the surround. Next up is the Blue Ball, a phantom powered dynamic, a great mic for so many applications. Again, the first example is on center, the second on edge. Following that is the MXL 990, a large diaphragm condenser mic. It's spaced about three feet away, just slightly off of perpendicular. Then we start the combinations. First the Sennheiser and the MXL, then the Blue and the MXL. Each one has a first on center, then on edge example. To finish, we have the panned examples. These are the only sound examples with any manipulation at all, just the panning of the mics 80% left and right. That gives eleven different tonal possibilities with only three mics and no changes on the guitar or amp. It just goes to show how many different approaches there are to mic choice and placement.
Monday, October 22, 2012
Coyote Circle Studio - Recording Electric Guitar
Coyote Circle Studio - Recording Electric Guitar Video Clips. Duration : 5.07 Mins.
Here I show how,with only a small amount of gear and a few small changes in setup you can create several different guitar sounds. I'm playing a 1987 Fender American Standard Stratocaster with stock pickups through a 1967 Fender Bassman with a 2x12 cabinet. The first setup is using a Sennheiser e609, a flat profile dynamic designed for close micing of cabinets, toms and horns. The first example is on the center of the speaker cone. The second is on the edge of the speaker at the surround. Next up is the Blue Ball, a phantom powered dynamic, a great mic for so many applications. Again, the first example is on center, the second on edge. Following that is the MXL 990, a large diaphragm condenser mic. It's spaced about three feet away, just slightly off of perpendicular. Then we start the combinations. First the Sennheiser and the MXL, then the Blue and the MXL. Each one has a first on center, then on edge example. To finish, we have the panned examples. These are the only sound examples with any manipulation at all, just the panning of the mics 80% left and right. That gives eleven different tonal possibilities with only three mics and no changes on the guitar or amp. It just goes to show how many different approaches there are to mic choice and placement.
Here I show how,with only a small amount of gear and a few small changes in setup you can create several different guitar sounds. I'm playing a 1987 Fender American Standard Stratocaster with stock pickups through a 1967 Fender Bassman with a 2x12 cabinet. The first setup is using a Sennheiser e609, a flat profile dynamic designed for close micing of cabinets, toms and horns. The first example is on the center of the speaker cone. The second is on the edge of the speaker at the surround. Next up is the Blue Ball, a phantom powered dynamic, a great mic for so many applications. Again, the first example is on center, the second on edge. Following that is the MXL 990, a large diaphragm condenser mic. It's spaced about three feet away, just slightly off of perpendicular. Then we start the combinations. First the Sennheiser and the MXL, then the Blue and the MXL. Each one has a first on center, then on edge example. To finish, we have the panned examples. These are the only sound examples with any manipulation at all, just the panning of the mics 80% left and right. That gives eleven different tonal possibilities with only three mics and no changes on the guitar or amp. It just goes to show how many different approaches there are to mic choice and placement.
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