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 Ways To Improve Your Tone for Free

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by Corey Palmer

There are many ways to improve your guitar’s tone without running out to buy new gear. Start with these simple suggestions and you’ll surprised how much your tone can be tweaked for the better. And if you want to take your tone to a whole different level, be sure to check out our Kings of Tone course.

1. Use your guitar’s volume and tone knobs.

200551124-001A number of years ago I had a footswitch that died on me, so I could no longer switch between the amp’s clean and dirty channels. While the footswitch was out getting fixed, I had to rely on my guitar’s volume and tone pots to alternate between clean to dirty sounds. Dialing the volume knob back a bit, for example, was great for cleaning up the sound, and then I got a nice, natural gain when I pushed it back up. More than that, though, I was struck by all the different tones I could dial in just by playing around with my volume and tone knobs. Definitely something for everyone to experiment with. I’m a Strat guy and the knobs are nice and close to the strings, which makes it fairly easy to make changes while playing.

2. Tweak your pickups.

2In case you don’t know already, you can adjust the height of your pickups to set them either closer or farther away from the strings. With some pickups you can even adjust each pole’s height under the string. Play around with your pickup’s height or the height of each pole and you may be surprised at how drastically it can change the tone of your guitar. Another thing you can try: If your guitar has humbuckers with the ability to do a coil split, flip the pickups so that the active split coil is in a different position. Just like treble pickups are near the bridge and bass pickups near the neck, small position changes to where the string is “picked up” can make a load of difference.

3. Listen to the rest of your band.

200120436-001It never ceases to amaze me how a guitarist can sound absolutely great playing by himself, and then the same tone is terrible when he’s playing in a band setting. One reason for this is that the guitarist has not learned how to listen to the band he’s playing with. It is really important to dial your guitar tone in relation to the rest of your band. Find the tone that fits appropriately into the arrangement. Just like when an engineer tweaks the guitar’s EQ in a studio mix, you have to find an appropriate EQ pocket when playing live. A tone that sounds really harsh on its own might balance out perfectly within a band.

4. Experiment with your pedal configuration.

4Changing the order of the pedals in your signal chain can influence your guitar tone. You may want to first eliminate any pedals that really add no value to your tone or aren’t used. Personally, I like to have as few pedals as possible, which for me means a tuner, a boost pedal for leads, and a wah — that’s it. Keep it simple. Keep in mind that each pedal will color the sound it receives from all the pedals that precede it in the chain. As a rule of thumb, distortion pedals usually come early in the line-up, and reverbs and delays at the end. You also may want to move your modulation effects (chorus, delay, etc) to your effects loop instead of routing them through the front of the amp.

5. Try different string gauges.

AV1191-001String gauges will impact the tone of your guitar, with higher-gauge strings (i.e., thicker strings) generally making for a warmer, richer sound. Note that changing string gauges may require a tweak to the truss rod since heavier strings increase tension on the neck. If there’s an impact on your intonation, your guitar might need adjustments made to the bridge or saddle. Some guitars may need a new nut cut to accommodate heavy strings.

6. Try different pick gauges.

6This isn’t quite as apparent if you are playing with a lot of distortion, but for clean tones, using different pick thicknesses can give provide wide variations in tone (overdrive can mask the sound of the pick on the string, though you’ll feel it in your fingers). For example, when strumming with a clean tone, a light pick can add a trebly, percussive timbre to the attacks while a heavy pick makes for a tighter, more aggressive hit on the strings. Depending on your playing style the change in tone can be subtle, but those little differences are what separates a good guitar tone from a great one.

7. Learn your gear setup.

7If you haven’t sat with your gear and really “learned” it, you aren’t getting the most out of it. Tweak all the knobs on your amp and see what kinds of different tones that you can pull out of it. On some amps you’ll notice a drastic change with small adjustments, while on others it’s very reasonable to dial a tone pot all the way up or down. Try different combinations of your amp settings and guitar settings (tone, volume knobs and pickup selector switch) and note how the two interact. It can be a tedious process but it helps you to learn how the gear works and how to derive the tones you want.

Like these tips? Check out our Kings of Tone course for even more.

Corey Palmer has been a guitarist for the past twenty years and has taught rock guitar lessons at his local music store in Woodstock, New Brunswick, Canada.

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7 Deadly Session Sins

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by Rich Tozzoli

GuitarThe ease and affordability of home recording technology has made it simple to produce music at your own pace, on your own terms, and on your own turf. But it has also left many players clueless when it comes time to move beyond the demo stage and enter a professional studio. If you are booking time in a pro facility soon, the guys behind the glass will thank you to mind these 7 Deadly Session Sins, each of which is nearly guaranteed to drive a recording engineer absolutely batty.

1. Arriving unprepared.
Unless you are Keith Richards and have an inexhaustible budget, coming unprepared is simply inexcusable (and often quite costly). Have your parts rehearsed ahead of time and know what results you want to achieve. Practicing the parts you intend to lay down is a simple but effective way to make sure the session flows smoothly. Before the session, think about the intented outcome: What exactly do you want to get done, and in what time frame? Have you done all you can do in advance to ensure the goals will be achieved?

2. Hanging your headphones on the mic stand.
Ouch. I can’t even count the small but meaningful pains I’ve had to deal with when clients hang their cans on the music stand or mic stand and then knock them off seconds later. Those 3- and 4-foot drops take their toll, and a busted pair of headphones can literally grind a session to a halt — and represent a significant replacement cost to the studio or engineer. When you’re between takes or a break, place the headphones on a table or even around the base of the mic stand on the floor. They are safer that way.

3. Halting the session to rethink your approach.
Engineers hate sitting behind the board while you rewrite on the spot — unless, of course, you’re paying them time-and-a-half for overtime. Try to record your practice (even on a handheld voice recorder or iPhone) to make sure you like what you hear before heading to the studio. You can then play that rough cut for the engineer to help him/her understand what you’re going for. More importantly, it helps you hear the parts and make any changes ahead of time.

4. A poorly packed gig bag.
Don’t leave for the session without spare strings, picks and batteries. Neither should you expect the studio to have capos or guitar straps or even a spare tuner. Even when your guitar is strung with fresh strings, bing extras of the exact gauge and brand you use. String-searching is a session killer, in terms of both time and vibe. Also, have plenty of your most-used picks on hand, and if you use pedals make sure they have new batteries. Don’t skimp on those 9 volts! Hit the music store the day before the session and stock up.

5. Pulling your cable out without warning.
It seems like common sense from where the engineer sits, but but I’ve had preamp channels blown because of this. When recording DI or with an amp, always check with the engineer before pulling your cable out. Just ask, “Is it cool to pull my cable yet”? He or she will then have time to mute the board/preamp, and then you’re good to go.

6. Keeping the lyrics and/or song map a secret.
Take the time to print out extra lyric sheets if you’re cutting vocals, and provide notes to show the song form to the engineer and other musicians. If you can put the chords and timings above each section (verse/chorus/bridge), that helps as well. This way the engineer can follow along easily and mark up a copy with any necessary production notes. It also makes the punch in/overdub process go much smoother since anyone can simply call out, “Take it from the 2nd half of verse 3” and everyone will be in the same place. When I’m tracking a vocalist, I remind them to the point of annoyance to remember those extra lyric sheets! It’s always worth it when the session rolls along smoothly and they’re psyched to hear that playback.

7. Inviting the entourage.
Do not bring friends/girlfriends/boyfriends/fans into a session. It’s a total vibe-changer. From experience I can say without a doubt those takes usually have to be re-recorded later. There’s a lack of focus, worsened by a show-off factor, that happens when non-band members are in the studio. They also tend to bug the engineer by talking and moving around. If anything, call them to come hear the final playback after you’ve finished tracking. It’s just as cool and allows you to focus on nothing other than putting down a great performance.

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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Learn The Rules

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by Charlie Doom

It wasn’t until I started trying to learn guitar, taking guitar lessons, and writing my own songs that my entire perspective on music changed: not all pop music is bad, but most of it is. And invariably, what people subjectively consider “good music” is music made by real musicians; people who understand, with seeming impossible skill, how to wield the power of music.

And at some point I learned that even the most impossible thing are possible. There are little tricks, rules and guidelines to everything and if you follow them chances are you’ll turn out a little boring, but just fine nonetheless.

I had a professor back when I was in film school who once said, “You need to learn all the rules. You need to fall in love with them. You need to know where their birthmarks are. You need to know everything about them. That’s why you’re in school – to learn the rules so you can break them.”

It’s no coincidence that our latest course, Sweet Notes, covers just this sort of thing – dissecting the impossible reasons why our favorite guitarists sound so good and why it’s really not all that impossible to sound good yourself.

Learn this course. Fall in love with this course. Know where its birthmarks are and kiss them. Once you’ve learned all you can from it show it the door with a wad of cab money then go make your own magic. Don’t worry, it’ll understand.

Truth. Love. Music.

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