Bearing that in mind, here's some pointers on how to best record guitars in this way However, the way that overdrive so completely transforms what and how the guitarist plays means that you nearly always need to run guitar plug‑ins at the recording stage, in real time, maintaining a low‑latency monitoring feed of the effect. The quality of plug‑in guitar‑type effects and amp/cabinet simulators is now so good that in the studio you might well choose to use them over a hardware equivalent like a Pod, or even over the 'real deal' pedals and amp combo, to benefit from the far greater flexibility and sonic palette that most offer. And, as if Trim weren't useful enough already, it can do phase reversal on separate sides of stereo channels, should you ever find that to be necessary. To achieve a true stereo 'pan', where both channels get steered to one side of the image, use the Trim plug‑in to 'mix the channels' and narrow the image first, and then use the Mixing Board pan. This is a useful trick to know, too, if you want to pan a stereo track very far left or right in the mix DP's Mixing Board stereo panners are actually balance controls, so if you use them to pan stereo acoustic guitar you'll get an apparent change in stereo positioning but one that's actually achieved by gradually turning one channel off. Often you'll want to narrow the stereo image, though, or even sum to mono two mic signals differing in tone quality, in which case the Trim plug‑in will be your friend.Ī stereo Trim whose pan settings are summing the signal to mono - very useful for controlling the stereo width of acoustic guitars.Here, positioning the Pan controls towards their 'center' setting causes the track to gradually narrow to mono, and if you go further they'll reverse position. Stereo Issues: It's common to record acoustic guitar in stereo, or at least with two mics, in which case there's a lot to be said for using a stereo audio track for the purpose. Curves I and II are 'surgical' in nature and good for precise cuts, while III and IV are wider and smoother in character. And when you need to work with peak‑type bands instead, remember that you've got variable‑response curves in MasterWorks EQ. In MasterWorks EQ, on the other hand, you'd enable the bottom left high‑pass filter and the 'green' band, switched to its lower 'High Shelf' mode. In Parametric EQ, you can enable a couple of bands, switch one to high pass and the other to high shelf, and dial in settings to suit. For that, a gentle high‑pass filter and a high‑shelf boost will do the trick nicely. That's particularly true for acoustic guitar, when, for the sake of the overall mix, you'll often want to remove low, bloomy stuff and add a bit of top 'air'. By default, though, going for the 'graph' rather than the parameters will nearly always end up generating peak‑type curves when shelf types or low‑ and high‑pass filters might be a better choice. But there are several DP‑specific things that are worth thinking about.Įqualisation: Both of DP's bundled EQs (and plenty of third‑party offerings) offer the typical 'click and drag' control of EQ bands. Plenty of great advice has been dished out over the years in the pages of Sound On Sound regarding mic choice, positioning and treatments for acoustic guitar, so I'm not going to duplicate any of that here. Between them, they should cover a wide variety of guitar‑recording situations. So there are lots of possibilities and permutations, which might even be combined in one way or another, so I'm going to focus on some specific techniques in this month's column. You might then choose to treat the virtual instrument's output with the same processing as you would a real guitar. Use a virtual guitar instrument (like those I discussed in Performer Notes last month) and record the MIDI data to drive it.Record a clean DI feed into a DP audio track using effects and processor plug‑ins hosted in DP.Record, with or without pedal effects, from a DI box, guitar amp or audio interface with high‑impedance inputs, straight into a DP audio track.However, there are, many more choices, at least for electric guitar and bass. Perhaps the simplest method, and the most tried and trusted, is to mic up an acoustic or an amp, and proceed as you would with recording any other miked source. In a modern DAW such as Digital Performer, there are more options than ever for recording guitar. Achieving exactly the recorded guitar tone you're after is easier than it's ever been, with the facilities on offer in a DAW package such as Digital Performer.
0 kommentar(er)
