# Great tutorial on recording heavy guitars



## Drew

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


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## Chris D

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!


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## Vince

_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.


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## Drew

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...


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## eaeolian

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...


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## Drew

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.  

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.


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## metalfiend666

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


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## Roundhouse_Kick

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


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## Blackrg

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!!!!!


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## Metal Ken

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




> On 18 Jan 2003 13:25 fletcher wrote: Quote: The sound comes from the player, not the equipment. You can get a wonderfully heavy guitar tone with a Telecaster and a Twin Reverb... it's all in how you approach it, and how the player handles it.
> 
> =======================================
> 
> 
> Not at the gain structures my clients use. HOHOHO.
> 
> I'm going to give Fletcher a stock Tele, a stock Twin, and 8 million years to get the "Carcass" guitar tone. He may get something he or others believe is 'good', 'heavy', or 'whatever'. But you ain't gonna get that guitar and amp combination to give you the level of distortion, saturation and flat out square wave rectification activity yer gonna get from a Les Paul Standard with EMG's into a Mesa triple rectifier.
> 
> God ain't gonna do that....


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## Nats

bookmarked


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## TomAwesome

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!!


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## Drew

Metal Ken said:


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



Hey, tone IS in your fingers - gain, meanwhile, is not.


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## Drew

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



> *20-45Hz*.	Never say never. Just say rarely.
> *50-90hz* Ahh the madness. Here's the 'swing' range in our 'chugging'.
> *100-150* Bottom of the meat.
> *180-240* Lo-Center of the meat.
> *250-320* Hi-Center of the meat.
> *340-650* Danger Will Robinson. Top of meat/Bottom of mids. CRITICAL.
> *700-900* More danger. Hard to hear. Kills 'newbies' on contact. Will explain.
> *950-1.2k* Pure Satan. Make or break ya. Easy to hear. Hard to control.
> *1.3k-1.6k* Ditto the above.
> *1.7k-2.2k* Top of the mids/Bottom of pick attack range. Oh, the fear.
> *2.3k-3.1k* Middle of pick range. Picky de poison. Mucho Satania.
> *3.2k-4.2k* Top of pick range. Pick out a nice coffin. Yer gonna need it.
> *4.3k-6.5k* Bottom of fizz. Add Beefeaters for gin fizz. Guzzle many glasses.
> *6.6k-8k.* Top of fizzy. Many will kill this range ruthlessly. Careful. Can O' wormies.
> *8k-10k* Road to hell. Paved with good intentions. Enjoy. Not.
> *10-15k* Less obvious road(s) to hell. Gravel. Lose a windshield up here.
> *15k-25k* Same disclaimer as 25-40Hz. Can you say 'sometimes bandwidth matters'?



Also, for comic value: 



> Get 'twinkie' to play some VERY REPETITIVE chord stuff that omits the 'chugging' for a couple of minutes. Tell him that when you need him to stop playing, he must stop playing IMMEDIATELY or you will fucking KILL him. Pet the handgun every sane engineer keeps on top of the console lovingly, like a favorite cat, as you say this. Look purposefully and coldly THRU him and say these EXACT WORDS.
> 
> "IF YOU DON'T STOP PLAYING EXACTLY WHEN I SAY STOP... I'M GOING TO SHOOT AND SHOOT AND CONTINUE TO SHOOT YOU UNTIL I RUN OUT OF AMMUNITION..... THEN I'M GOING TO RESUME SHOOTING YOU AFTER 'ASS-BOY'(point at shivering assistant) GETS BACK FROM THE GUN SHOP WITH MY REPLACEMENT AMMO".


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## Rick

It's gonna take me 2 days to read that. I'll bookmark it anyway.


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## 7 Strings of Hate

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


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## Drew

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

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."


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## skattabrain

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.


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## 7 Strings of Hate

the xt is invaluable for recording


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## Drew

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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## skattabrain

it sounds better when done right and it's more rewarding too


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## Christopher

Drew said:


> 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.



Yep. I've been running a modeler off and on for years and I can still get a hell of a lot better tone micing one up than I can running them direct.


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## Jongpil Yun

> In Heavy Metal... Precision is ALL. ALL THINGS TO ALL MEN AT ALL TIMES.... HAHAHA. Yes indeedy.



Sage words of wisdom.


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## Oneiros

great information!!!! so true! so expensive mhm hmh ( *weep*


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## totaluntruth

Metal Ken said:


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


 
~Thats the funniest analogy ive heard in a while -quite clever actually.
I absolutely agree with the AE 3/4 of the time when im in the studio-mainly because i have tone deaf ears- and he is smoking pot to enhance his audio! 
My emgs and peavy xxl made my recording sound tizzley tight- a dootee doo setup wouldnt of worked -even with his g5 master room tech setup studio deluxe sound twisting enhancers.------its the vroom of the tune-plus the boom in your metal/wooden spoon!


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## VA-Exception

Haha, not only informative but a great laugh. This really helped me recording my old band (Who have now broken up *sad face*). Am I fuck cutting away the grill from my Mesa 4x12 though haha


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## Drew

Yeah, theres actually a lot I don't agree with here - his approach to mic positioning and mine are quite different, and I'm a firm believer that the room sound matters fuck-all compared to the sound from 2" in front of the speaker - but nothing he's saying here is invalid, and it's fucking great material.


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## Rick

Drew said:


> Yeah, theres actually a lot I don't agree with here - his approach to mic positioning and mine are quite different, and I'm a firm believer that the room sound matters fuck-all compared to the sound from 2" in front of the speaker - but nothing he's saying here is invalid, and it's fucking great material.



If you can stay awake to finish it all.


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## swayman

"If you gotta EQ, something is wrong. Wrong mic, wrong pre, wrong placement, wrong guitar, wrong amp, wrong player (so kill me), wrong SOMETHING. Go change it...."

I've always applied that part of theory. So many guys I've done recordings for ask me "can't you just EQ it/edit it in Pro Tools". I always reply "I sure could, or you could stop being such a fucking pussy & play it properly".



Drew said:


> Yeah, theres actually a lot I don't agree with here - his approach to mic positioning and mine are quite different, and I'm a firm believer that the room sound matters fuck-all compared to the sound from 2" in front of the speaker - but nothing he's saying here is invalid, and it's fucking great material.


 
I've only read a page or so of it, it is an entertaining read to say the least.

Some of the shit he talks about is really interesting, kinda makes you reconcider what you're doing. But yeah, other stuff like room dynamics, I disagree...

I too believe that you can have a fantastic room, but with a shit rig & guitarists it'll sound like ass. But if you experiment with placement of cabs, mic etc in a crap room, you CAN get a killer sound.

I was tracking my guitars in a broken sauna. Most of the room oak wood, the rest concrete. After stuffing around for an hour or so with cab & mic placement, I pulled an absolute monster of a sound. The right player & the right rig with the right mic are key in my view.

Not everybody has the luxury of having a completely acousticly treated room.


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## TheSixthWheel

What an awesome guide. It's a testament to trial and error and correct training. I'm about 15 pages in and already I want every single piece of equipment which has been referenced which I don't already own, which is depressingly most of it. 

Great guide filled with great material! I love the presentation too. More often than not I've found similar information cleverly camouflaged within textbooks of various sizes and ALL of them are boring as hell. You get a few pages in and your eyes start to droop and it's nothin' but Z's. But this guide makes me mentally picture the recording process in some dusty old recording space. BRAVO!


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## Seven

Hell, thanks for bumping this, I nearly missed out and this is awesome. Very informative, and funny.


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## CrushingAnvil

This guy Is an AE Encylopedia


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## Mattayus

yeah man it's taken me nearly a year to read it all  but it's amazing and i hope it's never taken down!


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## Moro

The audio lessons at the bottom are killer too. Great info.

On a side note... Talk about dark sense of humor lol!


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## Arsis

I feel kind of embarrassed to say this but I cant understand what the fk that guy is talking about. Maybe i'm an idiot lol. He does not talk normal lol.


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## snuif09

o this guy is a hero =) he actually makes it fun to read


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## cyril v

holy hell., just saw this for the first time. 

that is a fucking brain dump if i've ever seen one.


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## SomeChump

Man, this is deep. Definitely will have to read this when it's not 4 AM. This guy knows his shit.


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## Sliggy

this man is a god. he makes me feel inadequate. i've so far to go.


..


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## Necrophagist777

I've been struggling getting a decent mic'ed tone and I've finally got it thanks to this thread!


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## Sliggy

It's Tim Gilles. Produces bands like Madball, Agnostic Front, Thursday, Taking Back Sunday etc.


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## right_to_rage

Great article, it definitely made an impression on my recording skills in the last few months.


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## devil

> I'm going to give Fletcher a stock Tele, a stock Twin, and 8 million years to get the "Carcass" guitar tone. He may get something he or others believe is 'good', 'heavy', or 'whatever'. But you ain't gonna get that guitar and amp combination to give you the level of distortion, saturation and flat out square wave rectification activity yer gonna get from a Les Paul Standard with EMG's into a Mesa triple rectifier.



that sums up the last 5 years of arguments ive had with idiots i.e. guitar center people

why im talking to GC people is a mystery

great find!


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## steffgang

Who the hell is Fletcher?! Just found this stuff and I really enjoy it


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## Vigil87420

Would anyone be able to shed more light on what he means by "cabinet involvement"? He mentions in the next paragraph "the point at which the cabinet started to get 'involved' in the low end," but I'm not totally sure what that means.


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## the unbearable

where the cabinet actually starts resonating with the low end, as opposed to just holding the speakers that produce it, methinks......


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## Cuda

...



Damn, all I ever needed to know about recording, freal.

With such a nasty attitude talking about musicians, well, you know he can't be wrong about anything with that much experience to be that jaded


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## coreysMonster

my browser is telling me the website is registered as a "suspicious website" (translated from german). Is anyone else getting this notice?


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## King_Prawn

coreysMonster said:


> my browser is telling me the website is registered as a "suspicious website" (translated from german). Is anyone else getting this notice?



Chrome is telling me 'Malware detected."


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## jl_killer

Yes Firefox told me the same warnings about Malware infestation! Too damn bad i really want to read this!


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## Kurkkuviipale

The shit is online again!


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## The Honorable

Arsis said:


> I feel kind of embarrassed to say this but I cant understand what the fk that guy is talking about. Maybe i'm an idiot lol. He does not talk normal lol.



Yeah he sounds really knowledgeable but I can't understand anything. It's like every line is a inside joke. Wish I could understand it!


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## guy in latvia

*the parametric eq with 17 frequencies is really amazing stuff, does anyone have something like that for bass guitar? now that ive made the guitar sound uber fat i can barely hear the bass, any suggestions?*


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## Nile

Drew said:


> Thumbnail sketch for anyone too lazy to read the whole thing (which you should anyway)
> 
> 
> 
> Also, for comic value:Get 'twinkie' to play some VERY REPETITIVE chord stuff that omits the 'chugging' for a couple of minutes. Tell him that when you need him to stop playing, he must stop playing IMMEDIATELY or you will fucking KILL him. Pet the handgun every sane engineer keeps on top of the console lovingly, like a favorite cat, as you say this. Look purposefully and coldly THRU him and say these EXACT WORDS.
> 
> "IF YOU DON'T STOP PLAYING EXACTLY WHEN I SAY STOP... I'M GOING TO SHOOT AND SHOOT AND CONTINUE TO SHOOT YOU UNTIL I RUN OUT OF AMMUNITION..... THEN I'M GOING TO RESUME SHOOTING YOU AFTER 'ASS-BOY'(point at shivering assistant) GETS BACK FROM THE GUN SHOP WITH MY REPLACEMENT AMMO".


im 6 years late but,


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## Ryan-ZenGtr-

Necro bump, but I guess the noobs should read it...... Maybe..... Mods? 

Are we keeping this secret? 

I keep a gun in my studio for times like these. I call it _"MOTIVATION"_. It's a Mexican knock off S&W 6 shooter.







*That's a .38, but gives you the right idea. Mines deactivated BTW... I hope I never have to work with anyone that sees this *

Slipperman is great. It's like a glimpse into the future.


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## Winspear

Bloody awesome read!


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## in-pursuit

there are so many very simple concepts that he's talking about that I'm not understanding. no wonder I hate recording anything distorted/heavy haha!


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## Katash

thank you so much for sharing = )


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## crazyprofessor

I am going to cite some of you guys:

"This guy Is an AE Encylopedia "

"o this guy is a hero =) "

"Man, this is deep."

etc, etc.

I do not share your fanboy opinions. This guy is mostly full of shit. Not that the doesn't know anything. Surely he does. There is some useful information in there. Sure. But most of it is a A BUNCH OF MEANINGLESS RANT. Most of it.

His writing suggests that he is not interested in teaching anyone what he knows. If he did, it would be stating things clearly. Make nice diagrams. His discussion is to the contrary full of impenetrable profane laced rants which interspersed with just occasional, rare references to the topic matter. This rant is designed to make him seem smart and knowledgeable without actually providing much specific advice. 

All sorts of professions have these types of characters who invents their own language in an effort to seem more important and knowledgable than they are. These guys pop up in all sorts of professions. Most of the time they are nothing but posers.


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## JC7

Nice good info


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## LOLAND

> 20-45Hz.	Never say never. Just say rarely.
> 50-90hz	Ahh the madness. Here's the 'swing' range in our 'chugging'.
> 100-150	Bottom of the meat.
> 180-240	Lo-Center of the meat.
> 250-320	Hi-Center of the meat.
> 340-650	Danger Will Robinson. Top of meat/Bottom of mids. CRITICAL.
> 700-900	More danger. Hard to hear. Kills 'newbies' on contact. Will explain.
> 950-1.2k	Pure Satan. Make or break ya. Easy to hear. Hard to control.
> 1.3k-1.6k	Ditto the above.
> 1.7k-2.2k	Top of the mids/Bottom of pick attack range. Oh, the fear.
> 2.3k-3.1k	Middle of pick range. Picky de poison. Mucho Satania.
> 3.2k-4.2k	Top of pick range. Pick out a nice coffin. Yer gonna need it.
> 4.3k-6.5k	Bottom of fizz. Add Beefeaters for gin fizz. Guzzle many glasses.
> 6.6k-8k.	Top of fizzy. Many will kill this range ruthlessly. Careful. Can O' wormies.
> 8k-10k	Road to hell. Paved with good intentions. Enjoy. Not.
> 10-15k	Less obvious road(s) to hell. Gravel. Lose a windshield up here.
> 15k-25k	Same disclaimer as 25-40Hz. Can you say 'sometimes bandwidth matters'?



I feel this is really important, but he's being such a self-satisfied jackass that I can't tell what his point is.

EDIT: I just realized this guy is Grampa Simpson. He fought in WWII, he's seen everything there is to see in life, but every time you try to talk to him, he rants about the time they wore onions on their belts and cars got 60 rods to the hogshead.


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## ViolaceousVerdance

So, I was reading this a fair bit last night... got about half-way through before I fell asleep. I've learned a few things:

1.) Slipperman has intense emotional/psychological problems.

2.) I should've paid more attention in college.

3.) Noise gates have sidechains, too.

4.) I need to stop messing around with cheap crap.

5.) I probably should've been mid-scooping my kiks all this time; Everyone must hate me by now.


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## niffnoff

I'm gonna have to agree with the guy saying he's on a rant most of each section...


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## Fraz

Awesome article! Amusing yet knowledge to be picked up. The bit about micing cabs at the start and the kick drum section are pretty useful, although wading through all the jokes and ranting has become slightly tiresome...
I will also have to agree with the majority of readers that Slipperman has problems...


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## Dimensionless

NOOOOOOO!!!!!! Its gone, It was sooo good.


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## Mazzy

It's online, but I honestly can't draw anything useful from the good portion I read. There's too much rabble in there to really explain what the heck he's talking about. Then a good amount of it seemed like common sense to me, but maybe it's because I've been reading these sorts of things for awhile.


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## kenken27

Mazzy said:


> It's online, but I honestly can't draw anything useful from the good portion I read. There's too much rabble in there to really explain what the heck he's talking about. Then a good amount of it seemed like common sense to me, but maybe it's because I've been reading these sorts of things for awhile.



Would you happen to have any recommendations or more things to read? I'm really interested in this AE stuff. Thanks.

Also, can anyone explain the beginning about excursion point and cabinet involvement? I understand what he means, but I don't know at what master volume I should be recording at after finding these two points. My understanding has always been to isolate and push the motherfucker to eleven?


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## ViolaceousVerdance

Check out The Systematic Mixing Guide by Ermin Hamidovic. It's a concise read, not as lulzy, but it has a humorous bit here and there. I'd recommend it.


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## median

"miserable square wave rectifier/noise generator" 

CLASSIC...


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## ShadowAMD

Slipperman was a gearslutz member with a lot of famous credit's on his name (Recordings / mixes), did a lot of great work and is a great guy..

Even though sometimes he can go off in a slight tangent, the guy is funny as hell 

Ermz is an excellent mixer and really down to earth, I have the systematic guide and I can +1 for it.


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## johnny666

Haha this is an old tutorial but very informative to newbies. +1


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## Char2000

I hate this guy's writing. Stop ranting and write what you mean man!


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## Bence Póczak

Hi! What do you think about my first song on my first sevenstring guitar?
Guitar sound comes from a pod xt live
<iframe width="640" height="480" src="http://www.youtube.com/embed/WZIfIS--Qng" frameborder="0" allowfullscreen></iframe>


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## Bence Póczak

sorry there's the link: Original progressive metal instrumental ( Line 6 pod xt live patch, Schecter omen extreme 7) - YouTube


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## Krullnar

I'd rather make a shitty sounding record.


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## Chronophobia

Anyone else get tired of this?



> HOHOHO. Loving it.
> HOHOHO. No shit.
> I blame Al Van Halen. HOHOHO.
> HOHOHO. Kill me.
> Not yet! HOHOHO.
> (Hey! .... I'm working on a Mac here!! HOHOHO)
> 2 a day is the absolute limit. HOHOHO.
> Might wanna look at the 270Hz range..... HOHOHO.
> ...AND THEREFORE LOOK A WHOLE FUCKING LOT LIKE MISTAKES to the untrained(HOHOHO) eye.
> (Well, actually, its kinda INCLUSION... HOHOHO)
> ...to retain(HOHOHO) my sanity.
> He's a bit of a "Sticky-Beak" HOHOHO...


Just goes on and on!


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## penningmic

This looks like a great article. I purchased an R24 for recording live off of my amp (as I liked the sound). Did some reading on recording and still can't capture the live sound off-amp sound (for lack of a better term), I am still a massive beginner . Hopefully this will give me a better idea for set up.


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## Tonardiald

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.


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## eggzoomin

Very interesting and very funny. It would be interesting to know the bands that's he's referencing, particularly the five piece from '99 that he uses for a lot of the examples.


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## mindlessgrind

This should help me out, I've been looking for a few different threads containing information on recording metal guitars.
I've always had trouble when it comes to the rhythm tone, so thanks!


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## atoragon

guys, check out this article I've wrote about how to mix a good rock-metal guitar! Atoragon's Guitar Nerding Blog: HOW TO MIX A GOOD ROCK / METAL GUITAR! PART 1/2


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## ghost_of_karelia

Great article, except for most of the time I was reading I had to double-take every sentence because I have NO IDEA what he's saying. It's hard enough for an idiot like me to understand what boosting/cutting different frequencies does to your tone/mix without someone using so many weird metaphors and similes that you end up wondering if he's invented a new language.


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## espshredder

Drew said:


> Slipperman's Recording Distorted Guitars From Hell
> 
> 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 ....in 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


 
looks like some good info, but really put off by all the rambling and clutter.

seems difficult to process.


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## Force

Vince said:


> 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.





Tonardiald said:


> 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.



 Is there an echo in here?

You're both bang on the money though


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## thevisi0nary

Force said:


> Is there an echo in here?
> 
> You're both bang on the money though




lol i saw this and thought i had deja vu


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## Josh Nanocchio

Good good but the dude who wrote this is annoying as hell.


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## Sumsar

I have to say I kinda like it with the weird language and all, I think it is an enjoyable read as well as informative. It's actually nice to read some more down to earth english/american as most of the english I have been reading for the last many years has been academic. (My native language is not english).


### echo ###

I have to say I kinda like it with the weird language and all, I think it is an enjoyable read as well as informative. It's actually nice to read some more down to earth english/american as most of the english I have been reading for the last many years has been academic. (My native language is not english).


### more echo ###

I have to say I kinda like it with the weird language and all, I think it is an enjoyable read as well as informative. It's actually nice to read some more down to earth english/american as most of the english I have been reading for the last many years has been academic. (My native language is not english).


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## prlgmnr

Getting the good information out of this and discarding the rest is a lesson in itself - in a way it's just like the process of mixing, innit?


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## ryane24

I haven't gotten past the speaker excursion part lol. There's no seeing through the grill on my cabinet, flashlight or not. And I've been driving myself crazy trying to figure whether or not the speaker is moving without cutting a whole in it.


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## Jacksonluvr636

Not sure if the link is dead or if its just me but I found a consolidated version.

https://www.dropbox.com/s/8n4mfaffw...Guitars From Hell (readable version).pdf?dl=0


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## Daniel_91au

Jacksonluvr636 said:


> Not sure if the link is dead or if its just me but I found a consolidated version.
> 
> https://www.dropbox.com/s/8n4mfaffw5pfhpl/Slipperman's Recording Distorted Guitars From Hell (readable version).pdf?dl=0


thank you


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## SomeChump

The original link to this is dead. Can we get it deleted?


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