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Performing / Jun 1, 2011 1:00AM
DESPITE THE latest in digital modeling technology, it’s hellishly difficult—
and some would say, impossible—to create a preset that captures the
essence of a tube amp ripped to the max like a top fuel dragster coming
off the line.
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Performing / May 1, 2011 1:00AM
TODAY, THERE may be a zillion signal-processing
options available to the average guitarist.
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Performing / Apr 1, 2011 1:15PM
A couple of years ago I was working on a song where I added a rockin’ guitar part, and, as I do a lot more recording than playing these days, it took quite a few passes before I got enough good bits for a decent comp track. Then, by the time I got all the other instruments and vocals onto the song, the guitar part sounded a little thin. I couldn’t bear to go back and re-record the darn thing. I spent a lot of time with various effects before I turned it back into something acceptable, but I couldn’t help but wish I had been able to choose the amp sound at mixdown. That’s when it occurred to me that I can! Well, not actually for that track, but ever since that day, I’ve saved my amp selection until later. Here’s the basic 411 on how I delay my tonal decisions.
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Performing / Feb 1, 2011 1:00AM
It’s now somewhat common for all manner of “Americana”
instruments to show up at your studio, as more
and more people wash out in the traditional rock-androll
milieu, often turning to less-conventional instruments
in an attempt to remain relevant.
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Performing / Dec 1, 2010 1:00AM
How can it have gone so sideways? We’ve recorded
tracks to the best of our abilities and gear—pushing
man and mail-order recording equipment beyond all
limitations, and now when it comes time to mix, the guitars
sound wretched.
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Performing / Nov 1, 2010 1:00AM
Recording software and hardware manufacturers have
been courting guitarists for some time, and many have
been savvy enough to turn our fickle little heads with
uncomplicated features that embrace the way guitar
players like to work.
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Performing / Oct 1, 2010 1:00AM
Delay can add a galaxy of lush ambience and vibe
to a guitar part.
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Performing / Jun 1, 2010 1:00AM
Like any other form of music, country
can be subdivided into many subgenres,
but all a recording engineer
needs know about tracking country
twang can be divided into two categories:
vintage and modern. Vintage
twang is pretty much a guitarstraight-
into-the amp affair, while
modern country tones typically rely
on an array of effects pedals too difficult
to engage wearing cowboy
boots. Now if pedal lust isn’t enough
to make Chet Atkins spin in his grave,
we’re going to explore crafting both
vintage and modern twang tones
using amp-modeling software.
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Performing / May 1, 2010 1:00AM
We will cover in this article some
ideas on recording string instruments
in the bluegrass style. When I think of
bluegrass, I think of the father of
bluegrass himself, Bill Monroe, and
the way he sounds and feels to me.
It’s a very open feel, full of the
moment with all of its greatness and
mistakes. The timbres of the instruments
are in a wonderful bubbling
blend waiting to jump out for their
moment, and then come back into
the mix. It’s a live feel, and that’s
what we are shooting for.
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Performing / Apr 1, 2010 1:00AM
Peter Frampton has recorded a couple
of bitchin’ guitar albums in his career,
including a little ditty called Frampton
Comes Alive, and 2006’s Grammywinning
Fingerprints. He’s also an avid
home recordist—albeit with a much
hipper and more gear-lush personal
studio than the average musician. As
the follow up to Fingerprints, Thank
You Mr. Churchill [A&M/New
Door/Ume] gets ready to drop this
April, we thought a few words of studio
wisdom from one of the world’s
greatest rock guitarists might help you
with one of your projects.