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I found notice about Sonic Iguana's recording!!
READ THIS!!!
IT? NO SECRET that punk rock guitar playing is all about precise, rapid-fire downpicking. Giorgini goes for both definition and punch in his guitar recording techniques, striving to capture both the trebly attack of the pick as it hits the string and the meaty ?hoomph of big speaker cabinets. ? tend to start off with a simple Shure SM57 mic, placed close to the cabinet, off axis, he explains.
Giorgini adds that the close placement is as important as the mic choice itself.
?hen I move the mic away from the cabinet, that first attack ot the pick hitting the strings seems to get a little bit de-emphasized. If I get really close up with the mic, I can capture the initial attack. And I can sculpt it with a compressor, too. I?l always do a light compression going to tape, even if the guitar tone is already very distorted, saturated, and thick.
The producer favors a somewhat slow attack setting on the compressor, which allows the initial sound of the plectrum hitting the string to ?et in under the wire, before the compressor kicks in. ?he compressor grabs the signal a little late, and you get a more emphasized pick attack. The attack time on the compressor should still be pretty quick - in the low millisecond range, just enough so you can hear the pick hit the string. Then the body of the sound is still thick, because that? being compressed pretty heavily."
? generally use tube compressors, and I can? seem to get the guitar sounds I want without using at least a tube EQ. So I put the signal through a couple ot tube stages going to tape. Not to mention the fact that I prefer tube guitar amps by far. Traditional Marshall JCM 8OOs and 900? are nice. I?e also got a definite love for SoIdano and Mesa-Boogie equipment. I? very tlexible but I always tend to fall back on one of those. I own several amps that bands I produce can use, although they may be attached to their own amps.
Giorgini likes to cut tracks live in the studio. ?here? a certain unquantifiable something about the live take of a guitar track, he says. ?f there aren? too many mistakes, I?l always try to keep the guitarist? live take and maybe just punch in a few little fixes. But I find that about 80 percent of the time, I?l also want to go back and record at least a second guitar for layering. So I?l have two rhythm guitar tracks panned left and right. Usually the live one? on the left and the overdub is on the right. Occasionally I?l throw a third guitar on. I tend not to want to go to four guitar tracks. That? over the top for me.
Giorgini adds that the close placement is as important as the mic choice itself.
?hen I move the mic away from the cabinet, that first attack ot the pick hitting the strings seems to get a little bit de-emphasized. If I get really close up with the mic, I can capture the initial attack. And I can sculpt it with a compressor, too. I?l always do a light compression going to tape, even if the guitar tone is already very distorted, saturated, and thick.
The producer favors a somewhat slow attack setting on the compressor, which allows the initial sound of the plectrum hitting the string to ?et in under the wire, before the compressor kicks in. ?he compressor grabs the signal a little late, and you get a more emphasized pick attack. The attack time on the compressor should still be pretty quick - in the low millisecond range, just enough so you can hear the pick hit the string. Then the body of the sound is still thick, because that? being compressed pretty heavily."
? generally use tube compressors, and I can? seem to get the guitar sounds I want without using at least a tube EQ. So I put the signal through a couple ot tube stages going to tape. Not to mention the fact that I prefer tube guitar amps by far. Traditional Marshall JCM 8OOs and 900? are nice. I?e also got a definite love for SoIdano and Mesa-Boogie equipment. I? very tlexible but I always tend to fall back on one of those. I own several amps that bands I produce can use, although they may be attached to their own amps.
Giorgini likes to cut tracks live in the studio. ?here? a certain unquantifiable something about the live take of a guitar track, he says. ?f there aren? too many mistakes, I?l always try to keep the guitarist? live take and maybe just punch in a few little fixes. But I find that about 80 percent of the time, I?l also want to go back and record at least a second guitar for layering. So I?l have two rhythm guitar tracks panned left and right. Usually the live one? on the left and the overdub is on the right. Occasionally I?l throw a third guitar on. I tend not to want to go to four guitar tracks. That? over the top for me.
カテゴリ: [Recording] - &trackback() - 2006年03月13日 19:24:34
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