Indigo Oak Studio – Recording Electric Guitar – Tutorial


hello everyone so I’ve just been working on a song of my own and I was just recording some guitar parts and I thought I might just throw camera and show you what I’m doing. So I’ve chosen a guitar and an amplifier to give me the tone that I’m after. I’ve also chosen a microphone that’s gonna help with that tone. Also I found a room in which I’m going to get the right sound for my song and also I’ve chosen the right pre-amp and things like that which I’ll show you in a second. So what I’ve done here is, I’ve placed my guitar amplifier on a chair. The reason I’ve done that is because of the way the bass generates out of an amplifier. It’s best to be raised up off the ground a bit so that the sound wave can grow naturally if it’s on the floor then you can end up with a bit of a muffled sound and you can also end up with a lot of your reflection off the floor, so it’s better to have it raised a little bit. I’ve also got a some acoustic panels which I’ve made out of rockwool and bound with muslin wrap and it has timber framing. Okay so I’ve got them set up were they’re to catch some of the main reflections from the amplifier. Sound infections. Think of the sound coming out of the amplifier kind of like a torch or a light that’s shooting out this way but it’s also shooting out all around. So what this one is doing is it’s going to catch a lot of the sound coming out of here bouncing off this wall and back into my microphone and this one here is in the direct line of fire of the amplifier to help grab some of the sound before it even goes and bounces all around the room and then comes back to the microphone again. This one here is directly in between the microphone and the amplifier so it’s going to again catch their first reflection off the floor yes we’ve got carpet here but carpet and blankets and things like that are really not good enough for acoustic treatment, they catch the high end of sound. What you need is a really dense material to capture the mid-range and some of the low end of the sound, because in particular with guitars that’s where a lot of the issues come up when mixing a song. The guitars take up a lot of the mid range and low end or they create a lot of build up when you blended in with vocals and bass guitar and drums and all the other elements is usually a lot of build up around the mid mid frequencies to low frequencies and therefore using things like acoustic treatment will help ensure that all of those low to mid frequencies that would be otherwise bouncing around the room have been reasonably absorbed and they’re not getting caught back up in this microphone. It’s almost impossible to truly eliminate all of it however this rockwool stuff does a really good job. So what it is is rockwool so wool made out of rock it’s kind of like of like Pinkbats and that sort of thing but it’s not. They have melted down rock and then winded it up into a warm sort of product they’ve mixed it with other elements recycling materials in some binding stuff to make it stick together into slabs and yeah so basically what’s happening is the sound waves that are coming out of here they’re going into the rock wall because the rock is what Paul is quite dense a lot of those low frequencies up as well as the high parentheses all getting slowed down they’re trying to travel through it but they’re getting hitting it and kind of slowing down and then passing through with a lot less energy and then they’ll be coming back and a hope yes some of them will be coming back through the panel again slowing down even further and coming back to the microphone with very little energy you might think well why don’t I just put our concrete block out for some of that yeah but it against a concrete wall well that’s not good because that’s it’s a solid it’s a solid mess so basically the sound will just fall or faked back off it which is worse so yes there’s something like this where it’s not actually a solid product it’s a very dense product it’s going to do a lot better for a reduction of that low and mid-range sound okay so what I’ve done is I’ve chosen again a particularly a fighter it suits the sound I want for my song I’ve chosen a guitar and it has the right tone and sound for my song I’ve gone through and I’ve set up on the amplifier itself the amount of reverb and some EQ settings and a little bit of overdrive and all that sort of thing to suit the sound of my song I’ve also placed the microphone here which is about two to hamlet’s apart away from the speaker that’s what suits the song I’m working on this that’s a sort of sound I want I don’t want it to be too close focused and click sounding but I want it to be too far or too distant and roomy sounding I want it to be somewhere in the middle so at point that I’m trying to make here also is that all these choices I’ve made what sound good and my song and how do I know that well I recorded a basic version of the song and then I could hear how all the instruments were working and I could hear right on my guitar does have a little bit more a little bit thinner slightly raspy ish because you know the bass guitar is doing this and the drums are doing that and that’s how it will pop out in the next minute and sound it’s a put the song I’m also choosing to do a lot of these these things based on my ear based on what I know and understand through experience rather than going to the door and doing a lot of EQ after recording I am still going to do some tidy up afterwards in the mix however I’m going to try and get the best sound for the song another very important point is I’m not trying to get the best sound of this amplifier or bakit are I’m not trying to get the best sound that I possibly can because that’s going to be no good for the song I’m not going this song and this the song was built around the guitar and everything else was a lure into the guitar then you need food it’s hard to sound scoop to cut whatever needed to sound kind of right to sit in the song again these are things that your lewd overt items here will get better at hearing and understand and to get most sound right in my mic placement right I used up here of noise cancelling headphones these are really high quality ones from Sony and I set up a little bit of a delay in my software so that I could move the microphone around and strum my guitar and I here like two or three seconds later yeah that’s from playback through my door through my recording software the trick there is that if you’re strumming people with noise cancelling headphones you’re still going to be feeling the bass in this narrow amplifier room which gives you a false impression of how it’s going to sound so by setting a delay of like a couple of seconds you can go strum a couple chords stop at the Abell playback and through your hip bones and you’ll hear what I was actually going to sound like in the mix the whole key to what you doing so for this particular recording I’ve chosen the SSL channel strip this is basically the equivalent of taking a single channel or us one of those sliders that you see in the big mixing consoles in pro studios this is basically one of those that’s instead of the slider it’s just compacted down into a single unit so it’s got all the high quality preamp bits and pieces going on here you see you trim here add some harmonic distortion which I’ll explain in another video you can add insert so it could be a bunch of different things I could add some of this distortion piece here I’m a compressor or you know whatever I can add something else into the mix if I wanted to which I’m choosing not to here you’ve got your low-pass filters that means you can cut off any unwanted low-end scent the sound I’ve chosen the cutoff below 40 Hertz nothing from the guitar is going to be below 40 here Hertz it’s basically just going to be Rumble from say trucks driving past and that sort of thing so as we’re kind of out here this is the EQ stage which I am not using so I’m not using the equalizer here I feel I’ve got my sound pretty much right through my guitar and my amplifier settings as well as my mic placements in my room sound and so I’m pretty happy with that and I’ve chosen all those bits and pieces to suit the song and in the mix I will be doing some in queueing no doubts in the mixed stage later on when I’ve added all the other elements back back in or re-recorded everything else but for now I’ll use that as just a wee bit of tidy up and keep this as it is and the last thing I’ve got on here is a little bit of a limit us turn on here which isn’t actually doing anything because I’m not actually getting out loud but it’s just there in case I something does happen there’s a sudden spike in volume it’ll stop the massive load of volume coming through coming out of here and so the rest of my system into the computer and petitioning into my own speakers or headphones and doing damage so yeah behind here there’s a cable coming out and going into this unit in the back into the third channel as a line in that is then coming out of here and going into my computer into my software to record so as you will see this loop this meter will light up and list me to light up there’s a sound coming out of here going into there and then it’s also going into my computer so okay so got my guitar I’m all ready to go from the preamp set up I’ve got my microphone and my acoustic treatment all set up I’ve got to playing back the music through these speakers rather than wearing headphones on this occasion because it feels a bit more natural than wearing headphones just to be playing against sound in a room I’m gonna be able to hear my guitar coming back through the door through the actual door doorway because this means it’s not gonna be introducing any kind of lag or any kind of latency that can happen through the computer what that means is when the sound if I wasn’t into the microphone through my computer it’s almost impossible to get rid of the delay that it takes for the microphone to go the sound to go through the microphone through the cable into the preamp into the Audio Interface converted into digital into this software to be mixed with the rest of the sound to be played back yeah there’s going to be a delay I mean I you know what even though it seems they’d say they got zero delay D still have some delay so that’s the most natural way to play so that’s what I’m choosing so yes I’m going to just hit record and see what happens Jessica so yeah so that’s basically how I like that this particular for this particular guitar part and recorded this particular gut guitar part so again I knew the sound I wanted for this part of the song outfitted in with the rest of the instruments and I had that sound in my mind went for it hunted for and set everything up so I could get that sound so yeah so this is something you might not need to move you ought to do immediately with practice and time you can do it and if you’re lucky maybe call upon someone like myself or someone near you to who knows how to do this sort of thing they come and in person help you with something that you’re working on your song and you know kind of explain how they’re getting there it’s definitely definitely something that’s difficult to explain on a video over the internet on YouTube that sort of thing it’s like works a lot better in person to kind of explain and describe what you’re trying to hear what you’re trying to find so yeah if you if you aren’t there yet do call upon someone to help you out who has so experience and doing this sort of thing yeah it’s gonna help you get further faster and get you recording bit of music and getting better results Cheers

2 Replies to “Indigo Oak Studio – Recording Electric Guitar – Tutorial”

  1. Soooo… I have now fixed the audio for the first half of this video, BUT there is no way to replace the audio track on an uploaded video.
    Sorry everybody – I was so excited to put this up! Lesson learned 😉

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