Hi,
when I'm working on a new record with some high-gain gits I always like to do something untypical to get a special sound.
I know there's a lot to discuss on favourite mics, positions, cabs, amps, pickups, cables etc. But what I'd like to try in this thread is to start a collection of unusual tricks ('cause if you just know a handfull of them - they'll soon become usual).
To start it up:
1) Try recording an extra mic (preferable a condenser or ribbon with figure-of-eight) outside of the room - with closed doors! Use this as a kind of delay (make sure it's delayed long enough to avoid phase-problems).
2) Record a clean DI-signal and a ultra-high-gain-amp. Now send the amped signal into a SPL Transient Designer and use the clean signal on the sidechain to bring back some attacks.
3) Split your git-signal, send one signal into an Exciter (100% wet) - lowpass the output and mix with the git-signal before going into the amp.
4) Double the electric gits with an acoustic (I know this is done quite often...), a distorted bass-git, mandoline, cello, piano, marimba - anything you'd like. If you do it on melodies: check out melodyne's midi-export, randomize a bit, maybe pitch one or two octaves down and use a simple synth with no attack to blend with the guitar.
Hope you'll bring up some weird ideas...
when I'm working on a new record with some high-gain gits I always like to do something untypical to get a special sound.
I know there's a lot to discuss on favourite mics, positions, cabs, amps, pickups, cables etc. But what I'd like to try in this thread is to start a collection of unusual tricks ('cause if you just know a handfull of them - they'll soon become usual).
To start it up:
1) Try recording an extra mic (preferable a condenser or ribbon with figure-of-eight) outside of the room - with closed doors! Use this as a kind of delay (make sure it's delayed long enough to avoid phase-problems).
2) Record a clean DI-signal and a ultra-high-gain-amp. Now send the amped signal into a SPL Transient Designer and use the clean signal on the sidechain to bring back some attacks.
3) Split your git-signal, send one signal into an Exciter (100% wet) - lowpass the output and mix with the git-signal before going into the amp.
4) Double the electric gits with an acoustic (I know this is done quite often...), a distorted bass-git, mandoline, cello, piano, marimba - anything you'd like. If you do it on melodies: check out melodyne's midi-export, randomize a bit, maybe pitch one or two octaves down and use a simple synth with no attack to blend with the guitar.
Hope you'll bring up some weird ideas...
