Discussion in 'Guitars' started by sneb goupter, Apr 6, 2003.

  1. sneb goupter

    sneb goupter Guest

    TO USE.....USING MIKE AKG D130.....
  2. Kurt Foster

    Kurt Foster Distinguished Member

    Jul 2, 2002
    77 Sunset Lane.
    Please turn off your "caps lock". The ULTRA-DYNE and the ULTRAMIZER appear to be mastering tools to be used at the mix or mastering stage. I don't believe they have mic pres so I doubt if you could successfully plug a dynamic mic into them and achive desireable results. I am not familiar with these pieces, I have never used Beheringer gear, the AKG D130 or the Shure 51 SKA. A search of the AKG and Shure sites showed no information on either of these mics. I cannot speak to these pieces. I did a litte research on the Behringer gear and here is what I have been able to find.

    ULTRA-DYNE PRO DSP9024 is a Digital 2-Channel Multiband Compressor/Limiter • Gate • Peak Limiter

    The DSP9024 offers six freely definable bands of dynamic processing plus a program-adaptive 3-band exciter, tube emulation and an integrated delay for “look-ahead” parameter adjustment. Interactive signal analysis and unique automatic functions enable you to get results fast, whether you need multiband compression, loudness maximization, de-essing or selective gating.

    ULTRAMIZER PRO DSP1400P Digital 2-Channel 2-Band

    Loudness Maximizer • Program Enhancer

    The digital 2-band concept of the ULTRAMIZER PRO allows separate, program-adaptive compression and limiting for low and high frequencies, ensuring ultimate punch and loudness. Its surround processor and 2-band enhancer give your mixes that extra gloss, while the noise reduction system keeps things clean. Nonetheless, the DSP1400P is a breeze to operate.

    Once again, these both appear to be devices for use with mastering, not really suited to tracking of instruments. Pehaps someone else could contribute some useful information? ........ Kurt
  3. Alécio Costa - Brazil

    Alécio Costa - Brazil Well-Known Member

    Mar 19, 2002
    oka. Here it goes Uncle Cedar..

    One technique you can use:
    1) one dynamic microphone going close to your guitar amp. experiment with mic position as to achieve the desired tone.Some examples: Beta 57, SM57.

    2) a good condenser a few feet from the guitar amp as to capture some liveness or slap back from the room. some examples: At4050, AKG C414, GT55

    3) a direct box or direct feed of your guitar going unprocessed to your console/recording interface. some examples: ARt dbox, Klark Teknik

    * Verify the phase. If necessary flip polarity or re-position your mics. If sound gets too thin or funny, maybe some nasty comb filtering is happening there.

    If you have 3 spare tracks, you can send each signal to its own track. The reason for recording a direct unpreocessed signal is, if you change your mood at the last minute prior to mixing, you can still reamp that performance with some friend´s borrowed amp or maybe use some nice virtual amp, like POD, Amp Farm, Sans Amp, MP1, ART SGX.

    Also: a new set of strings is a must. Lots of warm-up before recording session also helps keep the vibe.
    If your drummer band mate kept his recording kit inside the sme place, ask him to get everything that shall start vibrating due too cool rock chops at level 11.

    I imagine guitar amps you are very familiar with. But some stuff ranging from JCM800, JCM900, Mesa Boogie, Fender Twin Reverb, EV Peavey´s can provide nice results.

    It is not really necessary to compress your performance at this moment. The speakers can take care of that, excpet if performer gets out of control.

    some doubling for those massive panned :)
  4. Alécio Costa - Brazil

    Alécio Costa - Brazil Well-Known Member

    Mar 19, 2002
    sorry, I wanted to mean, sky is the limit.lol

    In portuguese, sky and heaven sometimes are used for the same situation.

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