Great tutorial on recording heavy guitars

Discussion in 'Recording Studio' started by Drew, Nov 9, 2005.

  1. Drew

    Drew Forum MVP

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    http://www.badmuckingfastard.com/sound/slipperman.html

    I'm halfway through this one now. I have no idea who the guy is, although I gather he's done a lot of nu-metal production. Reading this, I don't fault the guy for it, it's an interesting read, and fuckin hilarious.

    It doesn't get into multi-mic'ing a rig, which was what I was curious about, but the opening couple pages (!!!) on the physical point at which a speaker and a cabinet begin to interact with a guitar tone and how to best capture tha, while maybe not practical at the home studio level, is excellent.

    -D
     
  2. Chris D

    Chris D Fiddich or Morangie???

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    Jesus...

    Got 1/2 way thru... need to mail this to a AE friend of mine.

    Yes, audio engineering is an art form in itself, they're just as fucked up as any musician if not moreso cos they don't really get the credit.

    Skipped to the bitabout kickdrums... so true!
     
  3. Vince

    Vince Contributor

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    There is a list of about 25 guys I can think of off the top of my head who are masters of the 'heavy guitar' game. They didn't get there by accident. You don't have to like or agree with the decisions they make on their records, but have a little respect. And common sense. THIS SHIT TAKES WORK. In heavy music AE there is a REAL tradition... A passing of the torch. It dates all the way back to the roots of the music. AE's are a GIGANTIC part of how/why this happens. I've lived to witness it. More than once. Flippant disclaimers of the wisdom of scope and scale of these undertakings can be heard echoing in the empty side asiles at AES. I, for one, would like (Who knows?.. maybe NEED) to believe some of us know better and have not expended formidable portions of our lives creating and refining these traditions in vain.

    I agree 100% with this. This is why I'm so obsessed with getting a perfect rhythm guitar sound. It's hard as hell and yet it's absolutely vital to your recording. When people think of "good production" on a metal album, they're wittingly or unwittingly referring to the sound of the guitar and drums. Bar none.
     
  4. Drew

    Drew Forum MVP

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    You know, Vince, I think I'll be following suit, too. I can get "good" rhythm sounds to disk right now, nothing phenominal but perfectly workable. But, my amp still sounds better when I'm in the room playing it than when I play it back. I foresee a LOT of experimentation in my future... :)
     
  5. eaeolian

    eaeolian Pictures of guitars I don't even own anymore! Super Moderator

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    This deserves to be bumped, and everyone should read it. Not only is it useful in recording, but it's very useful in what you look for in your amp's tone to begin with...
     
  6. Drew

    Drew Forum MVP

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    :agreed: I was just re-reading this again today. Not only is it a fucking funny read, it's loaded with tons of good advice. Christ, there's something like 20 pages on dialing in kickdrum EQ alone, and it's mostly about guitar tones. :lol:

    Anyone know who this guy is, incidentally?

    EDIT - I swear, if I can actually take the time to internalize all this shit, my mixes would be like 500% better. :lol:
     
  7. metalfiend666

    metalfiend666 - Forum MVP

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    Indeed it does need to be read. I love the parts about sending your minion to find out which speaker sounds best so you don't have to be deafened :lol:
     
  8. Roundhouse_Kick

    Roundhouse_Kick SS.org Regular

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    I read this a while ago, pretty funny but lots of good info. Makes you feel a bit guilty to be a guitarist though....
     
  9. Blackrg

    Blackrg SS.org Regular

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    Great article full of stuff I learnt but forgot

    Funnier than shit!

    Didnt know Bill Hicks did engineering...another gem

    "Don't take any shit about cutting EQ. to tape.... FUCK THE OLD SCHOOL. THAT'S WHY THEY'RE THE OLD SCHOOL. THEY'LL ALL BE DEAD SOON AND WE'LL SNARK ALL THEIR WORK!!!!!
     
    Zepp88 likes this.
  10. Metal Ken

    Metal Ken Hates the Air Contributor

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    I love how the guy approaches the 'tone is in your fingers' argument.


     
  11. Nats

    Nats SS.org Regular

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    bookmarked
     
  12. TomAwesome

    TomAwesome I LIKE JUICE!!!

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    Wowza, lots of info! I bookmarked it and will certainly dedicate some time to reading this when I'm not in a state in which I haven't slept the past two nights. Knowledge is power!! :hbang:
     
  13. Drew

    Drew Forum MVP

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    Hey, tone IS in your fingers - gain, meanwhile, is not. :lol:
     
  14. Drew

    Drew Forum MVP

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    Thumbnail sketch for anyone too lazy to read the whole thing (which you should anyway)

    Also, for comic value:

     
  15. Rick

    Rick ALL HAIL DJOD Forum MVP

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    It's gonna take me 2 days to read that. I'll bookmark it anyway.
     
  16. 7 Strings of Hate

    7 Strings of Hate Mid-Level Asshole Contributor

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    i wish for some of the parts he would be more clear, the table drew posted is quite informative, i just wish he would quit using 1/2 of his time trying to be funny and actually focus completely on information, not that i dont appreicate humor, but if your reading it you obviosuly want to get the information first and foremost, but good find
     
  17. Drew

    Drew Forum MVP

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    Nah, it's all there if you read it, and I think the edge-of-insanity humor kicks ass. :lol:

    Besides, he knows his shit. The 350-600 range can totally fuck you over in a mix - generally I find myself doing a bit of a EQ scoop around 400hz on my rhythm guitars with a Q of 2-2.5 or so, sometimes with a corresponding boost at these frequencies on the bass, because this shit totally makes or breaks you on differentiation between your bass and your crunch guitars. Likewise, his "fizz" frequency bands are exactly where, if your mic positioning isn't perfect when you're tracking, you're going to be bending over, grabbing your ankles, and taking it on mixdown trying to tame the fizziness without making your guitars sound dull or trying to add life without making them sound papery.

    If you want a how-to on how to mix, then look at that chart, and then jump straight to the section on dialing in a kick drum at the end of this. That shit is pure mixing gold, and if you can really internalize what he's talking about, then if you can get good tones down on tape/disc while tracking at the start then you should be able to compete with any local studio in terms of "finished product."
     
  18. skattabrain

    skattabrain slow and low

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    awesome, this is awesome ... but i must admit ... with my current recording skills, crappy gear and the fact that i record in the same room i play ... it has me giving serious thought to either getting a POD XT or just shelling out the $ for a good studio session with a pro.
     
  19. 7 Strings of Hate

    7 Strings of Hate Mid-Level Asshole Contributor

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    the xt is invaluable for recording
     
  20. Drew

    Drew Forum MVP

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    There's no substitute for learning how to properly mic an amp. Even the best example of Line6 tone I've heard, Porcupine Tree's "Deadwing," shows Steven Wilson running through 4x12's in the studio on the studio vids included in the multimedia section. A Pod is a great demoing tool, and it's a pain in the ass to learn how to mic a cab, but frankly I'm a firm believer that it's always worth the attempt if you want truely professional results.
     

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