MASTER CLASS 1–(RECORDING GREAT STUNNING GUITARS)

MASTER CLASS 1–(RECORDING GREAT STUNNING GUITARS)

DAY 1   9am-12pm

Deciding on microphones for the job

  • Microphone designs
    • Dynamic mics:
    • Ribbon mics:
    • Condenser mics
  • Microphone placement techniques
    • Single mic technique
    • Stereo mic technique
    • Three point system
    • Four point system

Stereo miking techniques

  • Spaced or (a/b)
  •  X/y
  • M/S
  • Blumlein
  • M/s pro tools / mixer trick

 

DAY 1   1pm-4pm

Acoustic Guitar Placement Techniques

  • Listen to the guitar and rate it’s sound aggression factor
  • Listen to the mics and rate their sound aggression factor
  • How to listen to the guitar in the actual room
  • How to listen under headphones
  • Where to place the amp
  • Listen to the amp in the room
  • Decide on a mic technique
  • When should you use a DI

 

DAY 2   9am-12pm

Guitar Miking And Headphone Techniques

  • Deciding on a mic technique
  • Setting up a microphone for the guitar
  • Using more than one mic for the guitar
  • Creating a headphone mix for the player
  • Setting up tracks for the acoustic guitar
  • Coarse adjustment of placement
  • Fine tune adjustment of placement

Controlling the Guitar Sound

  • Create a track or tracks
  • Create a headphone cue mix
  • Turn up the amp or the pre amp and listen for tone
  • Decide on height
  • Decide on distance
  • Decide on angle
  • Decide on the type of Pre to use on the mics
  • Using a compressor while recording

DAY 2   1pm-4pm

Great Electric Guitar Workshop

Electric Guitar-The Different Animal

  • What affects the sound of the Electric Guitar
  • Type of wood or material
  • Pickup Placement
  • Types of Pickups
  • Tone Controls
  • Frequency range
  • Things that can make your electric guitar sound bad
  • How to listen to the guitar amp in the actual room
  • Should you use a DI
  • Using quick punch and track punch for guitars
  • Using Pre Roll and Post Roll settings for guitars
  • Loop Record and Multiple Playlist Settings for comp tracks and emotional decisions later
  • Setting quick punch and track punch crossfade preferences

DAY 3  9am-12pm

  • RE-AMPING AND MULTIPLE AMPS
  • Single Mic to Amp Techniques
  • DISTANCE
  • Using Two Mics Together
  • Phase matching
  • Different Speaker Cones
  • Ambient Mics
  • Although shunned by a few famous producers combining the close and ambient techniques
  • Multiple amps
  • Creative use of phase cancellation between microphones
  • The use of timed effects as part of the performance vs ambience

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