SP1. Guitar and Bass Recording.
Below is a short preview of my guitar track.
The guitar track, played by myself, was something that was supposed to be one of the easier tracks to record but came with a few hindrances and ended up being a slightly tricky process.
To record the guitar, I used two AKG 414’s, both using a cardiod polar pattern, set up in the X/Y stereo technique and placed just in front of the amplifier (shown below).
These mics were then patched through into Pro Tools via the wall box in the loud room, then into the patch-bay and finally sent though to two separate mono audio channels one panned hard left, the other hard right so as to get a wider stereo field. Below are two screenshots of the phase-scope in Pro Tools demonstrating the placement of the guitars within the stereo field when panned hard left and right (left screenshot) and, to show the difference, panned dead centre.
To record the bass, played by J. Rogers I used the Neumann TLM 103 mic because it has a good low-frequency pick-up, ideal for bottom-end instruments such as kick drums and bass guitars. This was placed pointing directly towards the centre of the bass amplifier because I wanted to get the cleanest bottom-end sound possible but I also wanted the slight high-end string slide noises that give a bass guitar its ‘played’ flavour. By directing the mic towards the outside of the speaker cone, this can be erased, giving a more muffled tone. Here is a picture of the mic in front of the bass amp.
This mic was then patched through to the control room via the wall box in the chill room so that we could record bass and guitar at the same time in different rooms without the mics picking up bleed from each of the amps. Below is a screen shot of the guitar and bass audio tracks (Guitar tracks on top, bass track on bottom) in the arrange window of Pro Tools and in the mixer (note. Picture of guitar tracks in mixer taken before panning).