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Topic: Recording vs. playing live |
Paul King
From:
Gainesville, Texas, USA
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Posted 22 Sep 2003 5:02 am |
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| Saturday I had the opportunity to do some recording at a small studio in Oklahoma. It seems like in the past every time I have recorded my steel sounds dead. Playing live and hearing it on cassette or video sounds much better. I am wondering if any of you guys who record can give me some tips. Do you use your amp and if so do your settings vary for studio work or do you use the same as you do playing live? There is an opportunity for a lot more recording and I would like my steel to sound better on a CD. I realize this is not a major studio and will not sound like anything from a big city studio. Any advice would certainly be appreciated....Paul King |
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Glenn Austin
From:
Montreal, Canada
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Posted 22 Sep 2003 5:27 am
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| If you want a good recorded sound, your amp has to be real loud. Use your same settings. |
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Bob Hoffnar
From:
Austin, Tx
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Posted 22 Sep 2003 5:48 am
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I change my strings the night before a session.
Also, if you get the chance, experiment with different amps and mike placement.
Bob |
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John De Maille
From:
On a Mountain in Upstate Halcottsville, N.Y.
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Posted 22 Sep 2003 12:19 pm
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| When going direct into the board, all the highs, lows, sustain, and reverb or echo, can be achieved in the mix. Most engineers don't really know what you really sound like, so, you must direct them to add or delete any sound you're comfortable with. Sometimes that's not an easy fix, though. The next best thing is to play through your amp, and then adjust the sound accordingly. |
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Michael Johnstone
From:
Sylmar,Ca. USA
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Posted 22 Sep 2003 1:32 pm
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I've had good luck using a Session 400 and setting it for my regular stage EQ and level and then coming out of the XLR pre-amp output on the back of the amp into a direct box and then into the console or outboard mic pre - then straight out of that to tape or computer. I'll turn the amp reverb off(I never use it anyhow)and have the engineer record me dry but monitor my steel thru a reverb setting that fits the song - so I can hear reverb while I'm recording.By not printing w/reverb,if you have to punch something in,you won't be cutting off the reverb tail on the note right before the punch.Also that way,you are free to change your mind(and you always do)about the type of reverb you ultimately use on the finished record because you are only adding it during mixdown.And like I said,I try to get the EQ right and print it that way.Invariably tho,somebody is gonna want you to come back 6 months later and punch in one lick - so write down your settings and signal path so you can duplicate it later.
BTW,with a few $K to spend on gear,good ears,a few years experience and some good pickers and singers doing good arrangements of good material on good sounding instruments,you can make a world class CD in a home studio.Omit one or more of these elements and no "Big City" studio is gonna be able to bail you out. This has always been the case. -MJ- |
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Jody Sanders
From:
Magnolia,Texas, R.I.P.
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Posted 22 Sep 2003 7:07 pm
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| Hi Paul, Fresh strings are a must to sustain the notes. Also play thru your amp if possible. If they put you direct to the board, pray that the engineer knows what a steel is supposed to sound like. best regards, Jody. |
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Paul King
From:
Gainesville, Texas, USA
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Posted 23 Sep 2003 4:55 am
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| Thanks guys or the input. I guess what I am saying is that my steel sounded a lot different in the studio mix than when I have heard it on a video tape or cassette. To my ears the last two sounded better. I suppose you have to learn how to play in a studio compared to live playing. Regardless of how it came out I had a blast and am looking to do more. I just want to get more comfortable recording and achieve a better sound in the studio. I certainly appreciate all of the comments....Paul King |
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Joey Ace
From:
Hamilton, Ontario, Canada
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Posted 23 Sep 2003 5:03 am
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The ELECTRONICS section has "Recording" listed as one of it's topics, so I'm moving this.
The above advice is great, I hope we get a lot more replies. |
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Jay Ganz
From:
Out Behind The Barn
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Posted 23 Sep 2003 6:35 am
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It's a heckuva lot easier for me to just
mic my amp. If you go direct, you have to
have a good preamp with flexable EQ controls
(& possibly some cabinet simulators) to
approximate how your steel sounds through
your amp. You can get fairly close, but it
takes time & experimentation.
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My MP3.com page
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John Billings
From:
Ohio, USA
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Posted 23 Sep 2003 9:07 am
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| I set my amp up to the sound I prefer, and mic it. I split the signal, after the volume pedal, and send the direct to the board. Record both tracks. Listen to the miced amp. It's much easier to perform edits on the direct, dry track. There will be fewer artifacts such as messed-up reverb tails. If the engineer prefers the sound of your amp set-up, you can send the direct,dry signal back to your amp using a Re-amp if required. I like having the ability to Re-Amp, cuz if the engineer says he likes the amp sound, but it needs a little more high-end, no problem! Just Re-Amp it. Or you can send it to a different amp. As long as they keep the dry track, they can do whatever they want to with it. However, the final decision on sound is theirs, not mine. I was hired to play, not anything else. If the engineer is not familiar with steel, I always take in a sample cd containing some Green, Hughey, and Emmons stuff as an example of how steels should sound. Sometimes the final results still sound like I was playing through my nose though. JB |
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chas smith R.I.P.
From:
Encino, CA, USA
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Posted 23 Sep 2003 1:20 pm
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| You might also try practicing without reverb. If you can develop a good sound and technique without one, then when they "wet" it up, it will sound that much better. |
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Buck Dilly
From:
Branchville, NJ, USA * R.I.P.
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Posted 27 Sep 2003 3:22 pm
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I'm pretty sure I read a quote of Larry Carlton which stated: "If you play in tune, in time, with a good tone, you have done your job, in the studio." Early on, I used to go in trying to play the best part or to shine. -My job in the studio is to provide a good track that fits the music and words. If there is a producer and a songwriter, listen to them without getiing you feelings hurt. He will help you sound better. If he does not that is on him.
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Lacquer Emmons PP,D-10, 9+9, Nationals, Dobro-8, Dan-O's, '70 ES 340, Scofield-Ibanez ES, Tube Amps. "Blue Sparks From Hell", "Kings in Disguise".
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