heres one... wrap tin foil (a thick variety) round the neck of your guitar. hammer out all the frets on it, and sweet, you gotta real dry shellac sound. yep steve miller did it all the time.. i mean steve austin.. i mean.. you know that guy... not that butch vig fag but the other guy.. you know... recorded in utero..
oh man this forum sucks so far.
well, I heard that to get the shellac sound, you have to melt old vinyl onto the fretboard of your guitar, and then play with needles attached to your fingers (vestax do some cheapies) .. its ace... but to get that really killer metallic sound, record it to protools at 16bit, bounce down to 24 bit (do not dither) , bounce that out of the left ouput (mono) of a sound blaster live (v. imp!) to an external CD recorder (ie in realtime) .. then the magic bit, hit play on that CD in a cheap boom box cd player, dubbing the result at highspeed onto a METAL (pos II) tape, and record the result of that back into protools at 24 bit... beatiful... steve albino would be proud i have to say... tried and true here mate!! cheers all
hey thats great billi, great to have you here. can you verify this for me? i heard on the new chemical brothers album they actually run tube amplifiers underwater, because the extra gravity around the vacuum in the tubes increased the density of the sound produced..?
I heard to get steve albini's guitar sound ala Big black days. All you need is a standard Strat copy lots of unison notes and an amp which the treble setting can go up to 13.
Then in shellac all you need is a travis beam and that same amp which the treble can go to 13.
when record vocals at home: make a homemade pop screen by getting an ordinary shopping bag - with a needle poke hundreds of little holes in both sides of the bag - then fill with polystyrene balls.
also when recording in a hall or large room - to deaden the sound, buy a stand alone tent from the warehouse and erect it inside and cover the outer with blankets or old curtains - place the mic inside (you may have to kneel) and sing away.
when making a demo - dont send it to sony, they will send it back.
what about when home recording guitar and bass, any tips on getting the best sound there? obviously not expecting to record masterpieces, just having a little bit of fun but may as well get the best results.
// when record vocals at home: make a homemade pop screen by getting an ordinary shopping bag - with a needle poke hundreds of little holes in both sides of the bag - then fill with polystyrene balls.
This is damn fine advice... pop screens are an important addition to recording vocals, esepcially if you're doing home recordings and need to have the input level of your mic quite high. Allows for much more punctuated vocals too (ie you don't have to try and soften the vowel sounds of certain words to avoid that 'poppin' sound).
In regards to guitar at home - just make sure you're using a decent mic, and if you are doing electric guitar / amp then play around for a while working out the best distance for the mic to be from the amp... Personally I often use one mic about 4 inches from the amp and another one sitting about 2 feet away and have them bounce together onto one track... You can use the same technique for accoustic guitar too, stops it from being just strumming sounds or being too trebbely...
Check out the link below for these techniques in action (drums recorded @ the factory but the rest is all done in my bedroom)...
yes thank you trillion for the pop screen, great idea!
now, recording gat and bass... billi (further up) brought up some great ideas pertaining to this, but for those laymen out there who dont get the jargon then maybe this will help.
with micing it is important to remember that sound has everything to do with air. it is air that will move the mic membrane so the denser the air the more response the sound recorded will be. a good example of this is the "motown" sound made famous in a lot of cities like memphis, nashville, new orleans,.. all citys in close proximity to swamps and with very high humidity factors. this high humidity is in essence high density air, and a good way to replicate this is to have someone with a household variety mister spraying the space between the mic and amp while recording.
// all citys in close proximity to swamps and with very high humidity factors. this high humidity is in essence high density air, and a good way to replicate this is to have someone with a household variety mister spraying the space between the mic and amp while recording.
Okay thats the first time I've heard of that!! Gonna have to talk to some of my physics boffin' friends about it and explore further... whilst I'm not keen on spraying anything near my amp or mics the room I recorded in does mostly have quite a high average temperature (as I am a whimp who feels the cold badly) thanks to the heater being on most of the time (in winter) - plus it's quite small on concrete (hence the heater being on all the time)... so I dunno if that would affect the tones but by what mentioned earlier I guess it would probably change the behaviour of the air in the room according to the laws of thermodynamics which must affect the sound being produced (even if it's only very slightly)...
// Probably you could achieve a similar effect by using a gas heater in the studio. They generate a lot of humidity.
Ahh interesting... Of course this is all good for the guitarists and vocal type people but someone spare a thought to those drummers going - 'oh for christ sake turn the heat down or I'll have to take my shirt off again' - and no one wants that in a recording studio :-)
// Hey, you were the one complaining about the cold just one post ago!
*cough* damn nabbed!
But seriously I do the guitars and vocals at home, but drums somewhere else (hahaha - hence no heaters!!)... actually as NiceGuyEddie will tell you, any excuse will do for me to drum without a shirt (though I've got a nice black bogan singlet to drum in now - plus straw hat!)
Just bypass all that trickey and get Phil Rudd to record (and play if possible) your drums.
Then get a Gretsch Streamliner and get Ric Ocasek to record that. Tell him to bring his wife too
that will give your drummer an amusement outlet instead of hogging all your coke.
further to the humidity idea... think about whale songs. they are able to travel miles and miles because the ocean is so dense. its far easier for the sound to travel along closely packed molecules then molecules with wide spaces between them, this is where sound energy dissipation occurs. if you use a solid between the amp speaker and the mic the sound quality would have almost no loss of sound energy. heres a trick... melt candle wax over the head of your mic while holding it onto the speaker cone (you will have to remove the speaker cover of course) let the wax join them together... hey presto Hi- Fidelity sound transferral to your recording device!
Confusion can be so amusing sometimes,
Whale sounds travel because sound travels FASTER in water,
Sound travels at 340 meters per second in air, this increases with temperature not humidity. (it travels at around 5000 Mps in Steel so go crazy at ths scrap yard). Humidity and water are both very bad news to the diaphrams of mics and speakers.
Motown records sound fatter because microphones pick up more bass frequencies when placed closer to a sound source (the Proximity effect).
ignorance can be so humiliating sometimes.
newly manufactured mic diapghams are designed to withstand a variety of environmental factors including exposure to moisture. and dosent the fact that sounds travel FASTER in water mean that it therefore is a better 'sound conductor' than air? i think these things have already been said dragstrip... why not post something original and not try and pretend you know better than everyone else. any constructive tips or hints? trillion is definatley going to win the prise so far with his excellent mic isolation tent and wonderfully cheap and effective pop guard. keep it up TRILLION!
how would it sound if you recorded by putting mic or guit into amp then the extra speaker output thingy on your amp to your computer or whatever your recording onto? would it be better just to record by micing the amp?
(I've been told by musicians that ...) The output on an amp has a distinctly different sound, often, to what comes out the front. Sometimes it's a very good idea, particularly when recording bass, to record both the speaker output and the (pre-amp?) output before it hits the speaker. Blending the two (when mixing) produces a nice sound - both rich and resonant from the speaker output, and clean with good clear signal from the pre-speaker output.
ive got an ace technique for recording bass guys!!go out of your bass (preferably something new and classy, like a samick/cyclone with stock pickups) into a di, then into the amp, and a powered mixing desk (once again peavey or similar and at least 400 watts) now, the trick is to route the speaker output of the desk into the microphone (preferrably an expensive mic, to capture all the detail. how bout that beatiful coles ribbon mic? etc) via a speaker to canon lead... now put that mic near the speaker cone of your amp (making sure the delicate diaphragm of the mic is just touching the rig) and crank that up to ear splitting level (the ONLY way to get the true tone of your expensive samick)... now, take all of that and get it onto tape or digital as quickly as possible, coz its phat, with a capital fuck yes!
Hey kids. I've got my accoustic 6 string steel (No p/up) and wondering what kinda mic to use. Bear in mind this mic will be plugged in to my laptop, so do i need a preamp too? Sorry about my ignorance, but im a commerce student, not a muic/electrical engineering one!
ANY advice at all will be great. I've got a backlogged repituare(sp) that needs 2 go onto Audacity.
:)
If you've had any live experience, you would have come across one somewhere in the line. Extrmely widely used instrument mic.
It's a dynamic mic too.
I would reccomend getting an sm58... a bit more versatile and if you are thinking of layering vocals over your guitar, then it's a whole lot better than 57's.
for the past couple of years i've used a $3 internet mic on everything,
i pull out my desk draw, pile a cup of books on it to get the right height and then put oenholder stle mic on top so i can fully recline the seat while attempting to sing. the mic has a constant buzz below about 70 hz, so after recording i put a noise reduction patch on the 'wav at about 70%, then i eq it, rolling off everything below about 100 hz boosting everying over about 4k. following that i'll compress it, most often making use of a preset named 'uberpunch'. or if i want to really homofy that sound i'll convert the wav to stereo before compression, add the tiniest bit of fake room reverb and then compress it.
I got a sick ass way to record drumming (especially if you want to be able to write awesome drumming when you cant play the drums"
Regarding you have a audio program like cubase.... Get 2 programs.. Fruityloops and soundforge.....
Record a few sound files of all your drums (Muck around for hours to get a good sound so u only have to do it once)
Then open them in sound forge and cut the wav file so there is no time gap before the start of the Kick or snare.. do this to all the sound files..
Then arrange them in fruity loops and export to cubase....
The only problem is it takes time and effort to do a good drum track but it sounds awesome...
If your worryied about paying for these programs DONT - Cause i paid for them all legitimatly and i didn't download them all of the internet with ease
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heres one... wrap tin foil (a thick ...
heres one... wrap tin foil (a thick variety) round the neck of your guitar. hammer out all the frets on it, and sweet, you gotta real dry shellac sound. yep steve miller did it all the time.. i mean steve austin.. i mean.. you know that guy... not that butch vig fag but the other guy.. you know... recorded in utero..
oh man this forum sucks so far.
well, I heard that to get the shellac ...
well, I heard that to get the shellac sound, you have to melt old vinyl onto the fretboard of your guitar, and then play with needles attached to your fingers (vestax do some cheapies) .. its ace... but to get that really killer metallic sound, record it to protools at 16bit, bounce down to 24 bit (do not dither) , bounce that out of the left ouput (mono) of a sound blaster live (v. imp!) to an external CD recorder (ie in realtime) .. then the magic bit, hit play on that CD in a cheap boom box cd player, dubbing the result at highspeed onto a METAL (pos II) tape, and record the result of that back into protools at 24 bit... beatiful... steve albino would be proud i have to say... tried and true here mate!! cheers all
[ http://shellac.com ]
hey thats great billi, great to have ...
hey thats great billi, great to have you here. can you verify this for me? i heard on the new chemical brothers album they actually run tube amplifiers underwater, because the extra gravity around the vacuum in the tubes increased the density of the sound produced..?
I heard to get steve albini's guitar ...
I heard to get steve albini's guitar sound ala Big black days. All you need is a standard Strat copy lots of unison notes and an amp which the treble setting can go up to 13.
Then in shellac all you need is a travis beam and that same amp which the treble can go to 13.
big black the treble only went to 12, ...
big black the treble only went to 12, it wasn't until shellac he started pushing it to 13.
doh. Sorry more research is in order ...
doh. Sorry more research is in order next time.
when record vocals at home: make a ...
when record vocals at home: make a homemade pop screen by getting an ordinary shopping bag - with a needle poke hundreds of little holes in both sides of the bag - then fill with polystyrene balls.
also when recording in a hall or large room - to deaden the sound, buy a stand alone tent from the warehouse and erect it inside and cover the outer with blankets or old curtains - place the mic inside (you may have to kneel) and sing away.
when making a demo - dont send it to sony, they will send it back.
what about when home recording guitar ...
what about when home recording guitar and bass, any tips on getting the best sound there? obviously not expecting to record masterpieces, just having a little bit of fun but may as well get the best results.
// when record vocals at home: make a ...
// when record vocals at home: make a homemade pop screen by getting an ordinary shopping bag - with a needle poke hundreds of little holes in both sides of the bag - then fill with polystyrene balls.
This is damn fine advice... pop screens are an important addition to recording vocals, esepcially if you're doing home recordings and need to have the input level of your mic quite high. Allows for much more punctuated vocals too (ie you don't have to try and soften the vowel sounds of certain words to avoid that 'poppin' sound).
In regards to guitar at home - just make sure you're using a decent mic, and if you are doing electric guitar / amp then play around for a while working out the best distance for the mic to be from the amp... Personally I often use one mic about 4 inches from the amp and another one sitting about 2 feet away and have them bounce together onto one track... You can use the same technique for accoustic guitar too, stops it from being just strumming sounds or being too trebbely...
Check out the link below for these techniques in action (drums recorded @ the factory but the rest is all done in my bedroom)...
[ external link ]
yes thank you trillion for the pop ...
yes thank you trillion for the pop screen, great idea!
now, recording gat and bass... billi (further up) brought up some great ideas pertaining to this, but for those laymen out there who dont get the jargon then maybe this will help.
with micing it is important to remember that sound has everything to do with air. it is air that will move the mic membrane so the denser the air the more response the sound recorded will be. a good example of this is the "motown" sound made famous in a lot of cities like memphis, nashville, new orleans,.. all citys in close proximity to swamps and with very high humidity factors. this high humidity is in essence high density air, and a good way to replicate this is to have someone with a household variety mister spraying the space between the mic and amp while recording.
// all citys in close proximity to ...
// all citys in close proximity to swamps and with very high humidity factors. this high humidity is in essence high density air, and a good way to replicate this is to have someone with a household variety mister spraying the space between the mic and amp while recording.
Okay thats the first time I've heard of that!! Gonna have to talk to some of my physics boffin' friends about it and explore further... whilst I'm not keen on spraying anything near my amp or mics the room I recorded in does mostly have quite a high average temperature (as I am a whimp who feels the cold badly) thanks to the heater being on most of the time (in winter) - plus it's quite small on concrete (hence the heater being on all the time)... so I dunno if that would affect the tones but by what mentioned earlier I guess it would probably change the behaviour of the air in the room according to the laws of thermodynamics which must affect the sound being produced (even if it's only very slightly)...
Thank you for making me have to think...
Probably you could achieve a similar ...
Probably you could achieve a similar effect by using a gas heater in the studio. They generate a lot of humidity.
// Probably you could achieve a similar ...
// Probably you could achieve a similar effect by using a gas heater in the studio. They generate a lot of humidity.
Ahh interesting... Of course this is all good for the guitarists and vocal type people but someone spare a thought to those drummers going - 'oh for christ sake turn the heat down or I'll have to take my shirt off again' - and no one wants that in a recording studio :-)
Hey, you were the one complaining about ...
Hey, you were the one complaining about the cold just one post ago!
// Hey, you were the one complaining ...
// Hey, you were the one complaining about the cold just one post ago!
*cough* damn nabbed!
But seriously I do the guitars and vocals at home, but drums somewhere else (hahaha - hence no heaters!!)... actually as NiceGuyEddie will tell you, any excuse will do for me to drum without a shirt (though I've got a nice black bogan singlet to drum in now - plus straw hat!)
Just bypass all that trickey and get ...
Just bypass all that trickey and get Phil Rudd to record (and play if possible) your drums.
Then get a Gretsch Streamliner and get Ric Ocasek to record that. Tell him to bring his wife too
that will give your drummer an amusement outlet instead of hogging all your coke.
That's my recording tips.
further to the humidity idea... think ...
further to the humidity idea... think about whale songs. they are able to travel miles and miles because the ocean is so dense. its far easier for the sound to travel along closely packed molecules then molecules with wide spaces between them, this is where sound energy dissipation occurs. if you use a solid between the amp speaker and the mic the sound quality would have almost no loss of sound energy. heres a trick... melt candle wax over the head of your mic while holding it onto the speaker cone (you will have to remove the speaker cover of course) let the wax join them together... hey presto Hi- Fidelity sound transferral to your recording device!
Confusion can be so amusing sometimes, ...
Confusion can be so amusing sometimes,
Whale sounds travel because sound travels FASTER in water,
Sound travels at 340 meters per second in air, this increases with temperature not humidity. (it travels at around 5000 Mps in Steel so go crazy at ths scrap yard). Humidity and water are both very bad news to the diaphrams of mics and speakers.
Motown records sound fatter because microphones pick up more bass frequencies when placed closer to a sound source (the Proximity effect).
ignorance can be so humiliating ...
ignorance can be so humiliating sometimes.
newly manufactured mic diapghams are designed to withstand a variety of environmental factors including exposure to moisture. and dosent the fact that sounds travel FASTER in water mean that it therefore is a better 'sound conductor' than air? i think these things have already been said dragstrip... why not post something original and not try and pretend you know better than everyone else. any constructive tips or hints? trillion is definatley going to win the prise so far with his excellent mic isolation tent and wonderfully cheap and effective pop guard. keep it up TRILLION!
how would it sound if you recorded by ...
how would it sound if you recorded by putting mic or guit into amp then the extra speaker output thingy on your amp to your computer or whatever your recording onto? would it be better just to record by micing the amp?
(I've been told by musicians that ...) ...
(I've been told by musicians that ...) The output on an amp has a distinctly different sound, often, to what comes out the front. Sometimes it's a very good idea, particularly when recording bass, to record both the speaker output and the (pre-amp?) output before it hits the speaker. Blending the two (when mixing) produces a nice sound - both rich and resonant from the speaker output, and clean with good clear signal from the pre-speaker output.
ive got an ace technique for recording ...
ive got an ace technique for recording bass guys!!go out of your bass (preferably something new and classy, like a samick/cyclone with stock pickups) into a di, then into the amp, and a powered mixing desk (once again peavey or similar and at least 400 watts) now, the trick is to route the speaker output of the desk into the microphone (preferrably an expensive mic, to capture all the detail. how bout that beatiful coles ribbon mic? etc) via a speaker to canon lead... now put that mic near the speaker cone of your amp (making sure the delicate diaphragm of the mic is just touching the rig) and crank that up to ear splitting level (the ONLY way to get the true tone of your expensive samick)... now, take all of that and get it onto tape or digital as quickly as possible, coz its phat, with a capital fuck yes!
[ http://blowman.com ]
Hey kids. I've got my accoustic 6 ...
Hey kids. I've got my accoustic 6 string steel (No p/up) and wondering what kinda mic to use. Bear in mind this mic will be plugged in to my laptop, so do i need a preamp too? Sorry about my ignorance, but im a commerce student, not a muic/electrical engineering one!
ANY advice at all will be great. I've got a backlogged repituare(sp) that needs 2 go onto Audacity.
:)
buy an sm57 buy all the neccessary ...
buy an sm57
buy all the neccessary cables to link it up to your comp/pre (ask at the purchasing shop)
and play with positioning till you're happy
Thanks bro. Whats an sm57? is it one of ...
Thanks bro. Whats an sm57? is it one of 'dem fandangled "condensor" mics? aparently i wont be able to record without one...
If you've had any live experience, you ...
If you've had any live experience, you would have come across one somewhere in the line. Extrmely widely used instrument mic.
It's a dynamic mic too.
I would reccomend getting an sm58... a bit more versatile and if you are thinking of layering vocals over your guitar, then it's a whole lot better than 57's.
telefunken...
telefunken
When recording vocals, i put baffles in ...
When recording vocals, i put baffles in a V shape and place the vocals in a semi-live area.
for the past couple of years i've used ...
for the past couple of years i've used a $3 internet mic on everything,
i pull out my desk draw, pile a cup of books on it to get the right height and then put oenholder stle mic on top so i can fully recline the seat while attempting to sing. the mic has a constant buzz below about 70 hz, so after recording i put a noise reduction patch on the 'wav at about 70%, then i eq it, rolling off everything below about 100 hz boosting everying over about 4k. following that i'll compress it, most often making use of a preset named 'uberpunch'. or if i want to really homofy that sound i'll convert the wav to stereo before compression, add the tiniest bit of fake room reverb and then compress it.
recording is for fags....
recording is for fags.
admittedly i DO occasionally slip into ...
admittedly i DO occasionally slip into my alernative state: that of small sticks. I can't help it.
Maybe if i cut back on recording so many songs...
Or maybe its the communists.... ...
Or maybe its the communists.... they're evil, right?
I got a sick ass way to record drumming ...
I got a sick ass way to record drumming (especially if you want to be able to write awesome drumming when you cant play the drums"
Regarding you have a audio program like cubase.... Get 2 programs.. Fruityloops and soundforge.....
Record a few sound files of all your drums (Muck around for hours to get a good sound so u only have to do it once)
Then open them in sound forge and cut the wav file so there is no time gap before the start of the Kick or snare.. do this to all the sound files..
Then arrange them in fruity loops and export to cubase....
The only problem is it takes time and effort to do a good drum track but it sounds awesome...
If your worryied about paying for these programs DONT - Cause i paid for them all legitimatly and i didn't download them all of the internet with ease
dont look at me like that