7 Quick Tips for Recording Great Amp Sounds

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by Rich Tozzoli

Whether you’re recording in your bedroom or at a high-end studio, these very simple recording techniques can have a huge, positive impact on the sound you lay down.

1. Put the mic directly on the cabinet.

To get an in-your-face sound, try taking a classic Shure SM57 and jamming it right on the cabinet, just to the right or left of the cone’s center. You’ll get a little proximity effect, which is basically some added bass response. Use it to your advantage and try to keep the EQ’ing to a minimum.

2. Axis, Bold as Tone

By taking that Shure SM57 (or similar) mic and just slightly changing its angle in relation to the speaker, you’re miking “off axis.” The tonal character will change a bit; and at this point, experimentation is key. If you can, have a friend move it a little at a time as you listen on headphones or in the control room. You’ll hear that magic spot. When you find it, take pictures so you remember the exact positioning.

3. Change your tubes.

If you’ve got a tube amp, don’t just assume the tubes are good. You’d probably change your strings in anticipation of a recording, right? Give your tubes the same consideration. Always have a second set on hand, and unless you’re a complete traditionalist, try a set from a different manufacturer than your originals. All tubes have slightly different attack and breakup, even amps of the same type and rating. Use your ears and don’t get lazy.

4. Use more than one mic.

Even if you’re recording for yourself, don’t settle on using just one mic. If you have to, borrow an extra mic from a friend. It doesn’t have to be a vintage Neumann. Place the second mic either on the cabinet next to the first one or farther back in the room. Any functioning mic is worth a try. You’ll have more tonal options when it comes time for mixdown.

5. Compress the room.

When that second mic mentioned above is used as a room mic, place it at least 3 feet away from the cabinet —preferably even farther back. Then, when listening back, try applying a massive amount of compression to that room mic. Make sure not to compress the attack out of the notes; just get enough so that it squashes the peaks down a bit. You can always use the compressor’s makeup gain to get more volume.

6. Use wide panning.

When it comes time to mix your two amp-mic tracks together, pan the two tracks oppositely; that is, pan one hard left and the other hard right. You’ll notice the soundstage in the Left/Right field opening up. Then experiment with putting a very short delay on the room mic, around 30-50 ms. A very nice stereo image can be had using just two simple mics and a delay.

7. Use more than one amp.

If you’ve got the gear for it, split your signal (either with a stereo FX pedal or DI) and run your guitar into two different amps. Like having two mics, the two separate amp sounds give you more options at mixdown. When recording heavily distorted parts, try to minimize the distortion on a second amp and increase a bit of treble, which helps the pick attack cut through a dense mix.

Rich Tozzoli is a Grammy-nominated engineer, mixer, producer and composer. He has worked with artists such as Ace Frehley, Al DiMeola and David Bowie, among many more, and is the author of Pro Tools Surround Sound Mixing. Rich is also a lifelong guitarist and composer. His work can be heard regularly on FoxNFL, HBO, and Discovery Channel, and he’s recently released the full-length Rhythm Up.

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Amps vs. Amp Simulators

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by Rich Tozzoli

Line 6 PODBy now you’ve probably had a chance to run your guitar through one or more of the available amp simulators on the market. With hardware and software offerings ranging from the pioneering Line 6 POD to IK Multimedia’s AmpliTube and Digidesign’s Eleven, there are literally hundreds of amp models available at your fingertips. Want a ’64 Blackface Deluxe? A ’67 AC-30 Top Boost? How about a ’65 Marshall JTM-45 into a 4×12 cab loaded with Celestions? No problem, just dial it up.

Well, maybe there’s a little problem. You will need a fairly modern, fast computer and an interface to get the job done with software. Like their desktop and rackmounted counterparts, these simulators are all very well-suited to digital recording rigs, but if you want to use them as a preamp for a live setting you’ll still need to run them through speakers or a freestanding amp.

What happened to just plugging that ¼” cable into a good old tube combo and cranking it?

Amps and amp simulators. There is no answer to which one is intrinsically better, so the question becomes: What best suits your musical needs?

Live Rigs
If you’re mostly playing out live, a standard amp sure makes a lot of sense. However, more and more players are going the laptop route with interfaces such as the Stealth Pedal, which was built just for that purpose: live playing through a computer.

stealth pedalWhat are the benefits of a laptop for live performance? Well, aside from not having to lug your 50 lb. monster in and out of the club, there’s the flexibility of sound. You can call up a massive variety of amps, cabinets and effects to produce most any sound for any setting or style. That kind of Swiss Army-knife diversity would set you back a small ransom if you owned the actual hardware pieces. And who would want to hump all that gear on a gig?

On the other hand, there’s a great deal to be said for the simplicity and reliability of a conventional amp. It may not be a master of all trades, but it can be a master of tone. An amp (let’s say a combo amp) represents true, old-school plug and play, and troubleshooting is usually at a minimum.

Plus, you may not like the feel of playing through a computer. Even though many amp simulators sound amazing, they may not give you that sponginess or string attack you’re accustomed to as a player. That will in turn affect your performance — and we all realize what that leads to.

Another issue to take into consideration with a laptop rig is latency. Basically, latency is the delay (in milliseconds, or ms) that it takes for the sound to travel from your strings, through a computer’s processor, and out to a speaker. The current generation of speedy computers renders latency nearly a non-issue, but there are system/software combinations that are problematic. You’ll have to explore the options to learn which programs are most compatible with the computer you intend to use.

Recording
JTM 45If you mostly work in the studio, an amp simulator can be an amazing tool to get sounds that are otherwise very difficult to come by. Recording a real amp comes with the complication of miking it properly (which includes owning the right mics), not to mention those volume levels when you’re working late at night. With a simulator you can put your headphones on and dial that JTM-45 up to blistering levels. Then, with just a few clicks of the mouse, instantly switch over to a small Fender Princeton.

Good as these simulators are, the sound of a real amp that’s miked up and dialed in just right is an incomparable thing of beauty. Sure, you have to get it set up just right, but that tone and feel can inspire great performances.

Some players throw in the towel on simulators, tired of working with digitized sounds that don’t meet their analog expectations. Some can’t understand why anyone would lose an hour of precious time moving around a room mic when great tone is a click away.

Suss for Yourself
mesa boogieIn my work producing artists and on my own television tracks, I’ve found a combination of amps and amp simulators to be the best solution. No software can replace the sound of my ’62 Gibson Falcon, ’66 Magnatone M10, or ’91 MESA/Boogie Mark IV head. But none of those amps can provide me the amazing variety I get using my favorite amp simulator programs.

In deciding which approach works best for you, be sure to test both under optimal circumstances. That is, be sure to give each side a fair shake. Get the tubes changed in your amps and make sure they are biased properly so that when you plug in the sound will rock your world. But also poke around online and check out some cool amp simulators. Install the demos using sounds that grab you, and A/B them with your miked sounds. You just might change your thinking — and your tone — in the process.

Rich Tozzoli is an accomplished engineer, mixer, producer and composer. He has worked with artists such as Ace Frehley, Al DiMeola and David Bowie, among many more, and is the author of Surround Sound Mixing for ProTools. Rich is also a lifelong guitarist and composer. His work can be heard regularly on FoxNFL, HBO, and Discovery Channel.

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7 Things They Didn’t Tell Me When I Started Guitar

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by Rich Maloof

1. There will never be enough guitars. They never told me, when I bought my first really good guitar, that other guitars would move me in a completely different way. It’s like falling for a girl and expecting you’ll never want another. There will never be one perfect guitar or even one fantastic combination of guitar/amp/effects that will deliver all the tones you will want and need. Even the guys who achieve great tone keep chasing great tone. It’s a moving target.

2. Music can be your greatest pride…and your complete undoing. There’s nothing I’d rather do than play and compose, but making music has not come with peace of mind. It has pretty much eaten my life. For every proud moment there have been another fifty occasions where I’ve heard something incredible and thought, Oh my God, I am a total amateur. I should have gone to dental school. In my experience, music has been completely fulfilling and utterly heartbreaking.

3. Playing under the influence actually makes it harder. Friends don’t let friends drink and jam. Not to be prudish (I dare you to keep up with me after my set is finished), but if you’ve spent a lot of time honing your skills, there’s just no way you’re going to perform as well snockered as you would straight. If you have any doubt, record yourself the next time you have one of those chemically induced moments of brilliance at 2:00 a.m., and see how it sounds after coffee clears the cobwebs in the morning.

4. It costs you something. If you’re going to be good on your instrument, you’re going to pay for it. It costs a chunk of your life. You will lose time, sleep and sanity. Some people will think you’re refusing to grow up. You’ll miss out on better-paying jobs and financial stability. It hurts relationships.

I once had a conversation with Robert Fripp and complained that sometimes I just wanted a job that paid better — that I was sick of living on a shoestring budget, always scraping to pay my bills, barely able to afford toppings on my pizza. “Forget the job and forget the pizza,” he said. “If you want to reach your potential as a musician, none of that means anything.”

5. Music beats the hell out of sports. There’s a long span of years, usually throughout high school, during which popularity and achievement all seem to be hung on athleticism. But everyone who plays knows that music easily offers all the camaraderie, exhilaration and pride that describe the finest experiences in sports. Wait 10 or 15 years after high-school graduation and then check in with the killer musician and with the star athlete from back in the day: one guy is playing all the time and still exploring his passion, while the other guy is stuck watching a lot of ball on TV. Don’t forget, you can still play guitar when you’re old and fat.

6. You’ll have to come up with your own definition of success.
If you’re fixated on getting a lucrative gig, being signed to a record label (do they still have record labels?), or having 10,000 fans on your band’s Facebook page, you’re pretty much sunk. It’s not that those things are unachievable, but they don’t satisfy the urge that drives a player to play. They don’t scratch the itch. You’ll have to redefine, time and time again, what you want to accomplish as a musician and what are your markers for success. Completing and recording a composition, improvising a great solo, collaborating with musicians who challenge you to be your best…these are the kinds of moments that take us to the top. And they’re fleeting, so you’ll always have to be ready to start again from the bottom.

7. There’s a lot of crap to carry. Shoulda played the sax.

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Fireside Chat: Larry Carlton

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Larry CarltonIt stands as no reminder that a guitar is made of wood, glue and metal. It is not a living thing. But when the 18-time Grammy nominated legend of guitar, Larry Carlton picks up his iconic Gibson ES-335, it certainly seems alive. In fact, it seems magical.

I saw it first hand a few years ago. Sitting three feet away from him, Larry picked up his guitar and played a single note. For the following three minutes and thirty-two seconds our raging planet was at peace. Not a single shot was fired, not a last breath was exhaled and not a belly shuddered with hunger. I wish that happened when I played the guitar.

Being able to suspend your disbelief through music is just one part of Larry Carlton’s magic, and it’s also what has made him one of the most recorded and celebrated guitarists of all time. Whether you believe it is Larry Carlton or his beloved guitar that holds the magic, to hear him play you cannot deny there is something bigger involved. That’s why I asked him to share some insight and to talk about his new 335 Improv course for this month’s featured chat by the fire.  - Charlie Doom

1. First off, if you weren’t a musician, what would you be and why?
I hope the questions get easier than that, because as you probably know I started playing the guitar when I was so young; I was 6 years old when I started taking guitar lessons. It’It’s all I’ve ever done. I never had another kind of job – even in high school – I always played guitar. There was never a consideration of what I might be if I weren’t a musician. So honestly, I have no answer for that!

2. Honestly, how many hours a day do you practice?
Wow, this is really going to be truthful isn’t it? That’s a tough question because I hate answering it “honestly,” but I don’t have a practice regimen and I never have – at least since I was in my 20’s doing session work. I really feel guilty about that because I know I could improve my chops if I took more time to practice. But I tour and play the guitar over 150 days a year and so that really helps keep my chops up pretty good. And I’m always listening and thinking about things that I know are not as strong in my playing as I would like them to be, and I try to work on those when playing live. I do notice improvement every year in my playing, but it’s without a practice routine. Please do not follow in my footsteps regarding that.

3. What are you listening to lately?
I just returned from a five week tour in Europe and found myself listening to a lot of Joe Pass from the early 60’s in my hotel room. He always inspired me with how melodic his solos were and just how much chops he had (I don’t have those kind of chops at all!). I get inspired listening to how cleanly Joe could play his solos and how much sense they made. So, yeah, I’d say I’ve been listening to Joe lately.

4. How would you describe the music business today?
Obviously, the music business has changed in many major ways. One example is how the music business used to be run and motivated by radio airplay. You would make a record, if the program directors liked the song, they would play it. If the audience liked the song and it became a hit, or even somewhat of a hit, you would go on tour to promote the album. Today Radio has very little to do with most artists’ careers today. It’s mostly live gigs that promote an artist and their music. Today I advise younger artists to promote their CDs by going out and doing as many live gigs as possible to build their following and promote their music.

5. Stranded on a desert island, which guitar would you take?
I would take a very small bodied acoustic guitar with me, as I would probably not be playing a lot of lead guitar. But with a small acoustic guitar, I could explore more beautiful guitar voicings and maybe even experiment with alternate guitar tunings. I also love the sound of piano voicings when they’re played on the guitar, but they’re very difficult to voice on the fretboard and so we’re very limited to which ones we can play that will sound as tightly clustered as they do on the piano. I’d spend a lot of time on the island working out voicings!

6. Let’s talk about what’s going on with you right now, your new course, and what’s next?
I am very excited about the new TrueFire course, 335 Improv, which is the deepest I’ve ever gone into the subject of improvisation and I’m very happy with the way the course presents my approach. I also have a live DVD with my trio in the can, which I’m really excited about because we had a great show that night and I think friends and fans will really enjoy it. We also have another DVD filmed in HD featuring myself and my good buddy Robben Ford playing acoustic guitar “unplugged” in Paris.

Questions submitted to TrueFire via Facebook, Twitter, and our Forum.

7. What was it about the 335 that called to you? – Hutch82
When I first started getting calls in 1969 for recording sessions, I was carrying at least three different guitars to the session – a Tele for country music, a Les Paul for rock n’ roll and pop oriented things and my ES-175 for more jazz or legitimate guitar playing for the sessions. I never knew what they were going to ask me to do. Truthfully, picking the ES-335 as my main guitar was just a practical decision at that time. I’m a very versatile player and I needed a guitar that was likewise versatile to cover all of the bags that I was working on at the time. The 335 fit the bill perfectly for me!

8.  Any advice for session musicians? – Leedelta
Put your ego away! When you go into a recording session – be a servant. You’re there to help someone make their music. The session isn’t really about what you think, although you want to give all you can as far as your ideas are concerned, but it’s up to the producer and the artist to decide how they want their song to be presented to the world. So be humble and be a servant.

9. For the tune “Room 335″, what did you come up with first; the chords or the main riff? – jimiclaptoncarl
The chords came from a track I played on for Steely Dan called “Peg” – those chords are the first four chords of “Peg” pretty much. I really liked the sound of them and when the time came to record a new album that sequence of chords came back to me. I wrote the melody on top of that sequence. Then I changed the bridge so it wouldn’t sound like “Peg,” but I do consider those opening chords to be inspired by Steely Dan.

10. How is it different recording in a studio for an album vs. playing live for an album? – 19Echo19
This can be a very short answer because it’s the honest truth – I’ve never worked out a solo in my life. For a record or a live performance it’s always improvised and that’s the part of making music that I probably enjoy the most, the improvisational part.

Visit Larry Carlton online at www.larrycarlton.com for news and updates or watch tons of performances, interviews and lessons on Mr. 335 TV. Below is a clip from Larry’s brand new guitar course, 335 Improv

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7 Deadly Sins of Rehearsing

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by Rich Maloof

1. No agenda
Band RehearsingMake the most of the band’s time together by knowing what you plan to accomplish. Is it a writing session or a performance rehearsal? Do you need to tighten up a few tunes that were sloppy at the last gig? Plan it out in advance. If the group has vocal harmonies or dual guitar parts to work out, you might want to set up separate rehearsal times for just those band members.

2. Inviting friends and fans
Don’t invite anyone to your rehearsal other than bandmates. It’s fine if you need a manager or other business associate to hear what you’re doing, but keep your legions of fans out. Most musicians just don’t tend to work as productively, or even act normally, when there are other eyes and ears on them. If that many people are dying to hear you play, here’s a crazy idea: book a gig.

3. Free-for-all
It’s one thing to take a moment to adjust your tone or get a new riff under your fingers; it’s another to run a dozen lead lines when everyone else is ready to start working. If your band is populated with aimless, endless noodlers, try setting a new rule for rehearsal: Each player signals that he/she is ready to rehearse by not playing.

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