Side project recording 8/10/19

After recording drums the week before, Roy and I went on to setup the Neve studio to lay the bass playing along the recorded drums. Using the knowledge that I acquired in my 2nd tri I decided to use two microphones to mic the Roland cube amp and these mics are the Shure B52A to get that solid heavy base and the Sennheiser MD421 to get the mids and top. This time I thought not to use a condenser mics as they normally pick up much noise and high ends from the amp. I mean this I can always experiment with the Eq but I would rather not, just keep it simple and get a good recording. One tip I got from Guy Cooper was that its best to have a good recording to avoid much fixing.

Reasons for the mic choice mainly was to have test of how they may sound and then next project I can probably choose different mics. It would be a good practise like Rose said to test every mic that is at our disposal. We also used a Di to also get a clean sound and hopefully during the mix I can experiment with panning on the right and the other on the left. I am not a bassist so really I would not know what is the best bass amp but rather we used a simple Roland cube amp and got Roy to tune his bass and have him be satisfied with what is coming out of it, which he was. I would say during the mix before the recording both mics and Di did sound different and it’s all about now how to mix, blend, panning that would determine a good outcome. I definitely look forward to using other different mics to get the tone and feel.

Robert Ruby suggest that a Di has its drawbacks as the tone tends to be quite bland (Rub 2019). When I took time to listen to each track there was loss of tonal colour that was being lost in the Di track. As I played the tracks together I noticed that the sound became pretty complicated and powerful bass tones coming from the two mics and also gives room to blend the signals to taste. I will do more research on how to align the phases of the two mic tracks so that I do not get any phase cancellations issues. Maybe also I may be able to create some delay with the track. It’s all about experimenting for me

Range of Sounds (2019). Rangeofsounds/blog/how-to-mic-bass-amp/. Retrieved 14 October 2019, from https://rangeofsounds.com/blog/how-to-mic-a-bass-amp/
Gibson, B. (2011). Instrument & vocal recording (2nd ed., Hal leonard recording method, bk. 2). Milwaukee, WI: Hal Leonard.
Schmitt, A., & Gibson, B. (2018). Al schmitt on vocal and instrumental recording technique. Milwaukee, WI: Hal Leonard Books.

Side project recording 15/10/19

The side project today we recorded the rhythm guitar with Roy being our absolute guitarist. This time we used Audient 8024 as the Neve studio was booked out. Roy brought in one of his many guitars and the guy loves it.

The setup this time was a little different from the Neve studio as we used two different amps and I believe the idea is to get good different tones then possibly pan hard left and right. Blending two signals together including the Di would also give a lot more sounds to select from during mixing.

Each amp we miked with two different mics, the Yamaha amp we placed a Shure sm57 & a sennheiser MD421 and the Roland amp we placed an Shure sm57 & B52A to get both high and the low frequencies. A Di box was also set to get a clean guitar sound then ran through the Yamaha amp. We then took sound from the line out of the Yamaha amp and ran it through the line input of the Roland amp. I did learn some signal flow here just by experimenting.

So then we had 5 separate signals coming through the console including the Blumlein configuration of two AKG AT2050 condenser microphone that were set to figure 8 and cardio to capture sound from front and back of the room. I made sure that we had good gain structure for all our channels and a healthy signal coming out of pro tools without clipping. It is very important that I labelled with type each channel to avoid any confusion. During the mix before recording it was interesting to listen to each channel whilst Roy did sound check as different sounds came from each mic and the Di. I am looking forward to the final mix when we complete our recording. As for next recording we will focus on vocals and we will work out the next plan and I am looking forward to it. We had multiple takes for the guitar and it’s a matter of listening to all of them and if there be need to replace we have a couple of options.


Huber, D., & Williams, P. (1998). Professional microphone techniques (Mix pro audio series). Emeryville, CA: Mix Books
Thompson, D. (2005). Understanding audio : Getting the most out of your project or professional recording studio (Recording: audio). Boston, Mass.: Berklee Press.

Leave a Reply

Your email address will not be published. Required fields are marked *