SP2. Guitar and Bass Recording.

Guitar recording.

Mics Used:

  • 1x AKG C414’s.
  • 2x Shure SM57 

Below is a short preview of my plucked guitar track!

The guitar track was recorded using the Mid/Side mic technique which involves pointing a cardiod microphone directly at the signal source with another mic using the figure of eight polar pattern placed at 90 degrees either above or below the cardiod mic. A photo of the Mid/Side micing technique used to record my guitar is shown below as well as a diagram showing the signal pick-up of this technique (Diagram taken from websites; Universal Audio’s Analogue Obsession via Wikirecording).

Once this had been set up and patched through to the control, I then set up a MS Matrix in Pro Tools. This is done by creating two mono audio tracks; one for the cardiod mic (Mid) and another for the figure of 8 mic input panned hard left (Side Positve). I then created a mono aux input panned hard right (Side Negative) and fed the signal from side positive into this aux track via a bus. The level of this send was then set to 0dB and the ‘Pre Fader’ button switched on (AS shown in this screen shot).

Finally I reversed the phase of the side negative track by checking the blue input phase-invert button of the 7 band EQ plugin placed on that track (shown here).

Below is a screen shot of the M/S matrix in Pro Tools and a diagram showing the matrix panning set-up (Diagram taken from websites; Universal Audio’s Analogue Obsession via Wikirecording).

Once this was set up I could then begin recording my guitar track. This technique was used to record both strummed guitar (discussed in the ‘Guitar Processing’ post) and plucked guitar parts. Below is a screen shot of the plucked guitar audio in the Pro Tools arrange window.

Bass Recording.

Mics Used:

  • 1x Sennheiser E602.

To record my bass (played by James Rogers) I decided to DI straight into the pre-amp in the control room. This was done by simply plugging a jack into the first channel input on the pre-amp, setting the input to instrument as apposed to mic. I then checked the levels and recorded straight onto a mono audio track. Below is a photo of the pre-amp with the bass jack input.

Once the bass was DI recorded, I then decided to patch the recording through to a bass amp in the recording studio, using the wall-box in the chill room as an output to the amp, and then played the recording of my bass track through the bass guitar amp and recorded that using the Sennheiser E602 mic, which is good for low frequency pick up. Below is a picture of the amp/mic set-up used to re-record my bass track. The mic is positioned facing as close to the centre of the amp as possible to record the best signal response.

This signal is then sent back into the control room via the mic input on the chill room wall-box and then recorded on a separate mono audio track along-side the original DI recording. This double tracking of bass gets an overall fatter texture due to having two subtly different flavours provided by both DI and mic’d recordings. Below is a screen shot of the two bass tracks in both the arrange and mixing windows of Pro Tools.

Here is a preview of my recorded bass track.


~ by J.E.R.U. on December 1, 2010.

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