Okay, so revamping um so now if you're on the pro tools screen what I'm gonna do is I'm gonna start playing the um most are playing this die down here and you should be hearing two speakers I mean the two microphones coming back in um to pro tools and I will get just kind of go over there and mess with thea mess with the tones and you can see how you can change it sound of your original performance um without actually playing it twice or for instance if I wanted to if I wanted to take this die and run it through a different camp maybe I decided that like my buddies anthony I borrowed wasn't nearly as cool as he thought it was or when I plugged my guitar into it it sounds completely different, which is totally the case with a lot of different combat lamps um you know, then I could take this maybe I got like that the performance of a lifetime that I'll never able to play again I can take this and now pump it into another amp and get some different sounds out of it, but for now I'm just g...
onna turn this up over and start tweaking sounds so you can actually see that that is what's happening it's coming back and I'm actually just going to plug into the vibrato channel because we can't wait now that I soupy that up I'm just going to track that and we can hear the difference just my gains a little bit he just he just turned it on standby for me okay, so now I mean this is all kind of like this could be pretty boring for some of you guys but if you learn how to use this it's going to be pretty invaluable when it comes time which it always happens when you tracked something and then you realize it's not as good as he thought it was um safe this is a great example of say you recorded the guitar part that had tons of reverb on it like how this sounds but then it comes time to mix and you realize oh my god that reverb is killing me like I can't get hit hardest it right it's just so soupy and it's when I turn it up three rooms too loud and then when I turn it down I can't hear the guitar enough so this is a great way to say if it comes time to the mix phase and you realize that everything is not sitting right or say one guy had like a jazz master on one side and like a les paul on the other and you thought it was really cool how contrast in they were when you when you trapped but then now it's like you're listening and headphones and the right side is really harsh and jazz mastery and then the left side is really kind of like just dark and let less polly and you're just like manages sounds weird so being able to run your d eyes through like a consistent amp is another way of kind of like making your if something's weird you can kind of fix it it's kind of like a last resort or or maybe even a creative tool but here it is just kind of showing how this is the same performance played in two different channels of the amp with, you know reverb on one and with out on the other so here is the new one there's a little of the river and then now I'm going back to the one that had no river so I mean that would be a great to me if if this first take if we listened to that and decided that um we thought this track was too thin then be going back and being ableto go to the super super river super river be like the super track is like a great way of thickening up that guitar without having to queue it and make things sound so weird so I mean this just sounds with thicker too means different tone but you know but that might that might totally save your ass and the situation is there ever a situation where you take those to impound them or does it get to money in bombay you can do that um but bring one way down or something is it or is it I mean making do it right now and show you um so let's say I'll go the original track on left and the cp one the new c b one on the right and you may not be able to hear from over there it's a little weird the only reason why you're getting a little bit of a stereo field image is because these microphones that I just kind of like bowling balled up there they're not completely unfazed with each other um I can show you how to put them in phase um quickly but I mean you know I mean here here's where you're looking at the phase um that's like pretty right on and I guess the only reason why I know that is because after I've thrown up so many fifty seven's like over the years like I can just kind of boy and I get it that close a lot of the times that you throw him up um you might have your you might have one mike closer than another one andi kind of play that back to simulate what that sounds like this is now the first take that we're listening tio but I moved this bottom track later in time to simulate as if that microphone were farther away normally doesn't work so this is I mean at home you guys will really be able to hear this but in here unfortunately guys can totally hear it but you should be able to hear some weird things with the top and start to happen as I bring in the second track and this is like really important about multiple miking guitars getting things in phase which I mean I think I think kurt and like steve of its did like really good really thorough classes getting multiple mike's in phase so I'm not really gonna go too much into that um or maybe I can come back and get super nerdy and for everybody um so um so here it is I'm gonna start you can see here the level and I will just kind of slowly start bringing it in and you should be able to hear some sort of like faizi things happening with a top end and as I bring it in, if both mice are in phase you should be able to hear things just all frequencies kind of adding equally whereas when mike's air out of phase you'll hear some start to get like louder and other ones will start to drop out and then if you bring him up even louder than it switches, it just gets really weird um and that's like a really easy way of his hearing if things were in and out of phase aside from just looking because sometimes you can't really tell when the way they're so blasted wait intel over there but like the mid range gets kind of lost you know the brightness goes away to you know, so that's that's you know, just another small reason why getting your mikes in phase and everything right at the source like you know what you're talking about is just so important, you know? Because when you're trying to fight that in a mix and you're sitting there wondering why your guitars aren't happening um that's why I noticed when you're bringing the guitar back out to react but the level seemed a lot higher than what the guitar was actually doing when it was plugged directly into the amp and I was just wondering I've run up against that problem quite often to where you actually have to like, you know, use the fader in the in the in the dog too get it kind of at the right level, but it always feels like you're doing something wrong because like it should just come out I mean, you might assume there's you just come out it like the same level it was recorded in there too all right at yeah, but it never does is there any like kind of way to feel like this is how this is this is the actual signal that I recorded in okay, so it back out yes that's a great question so what you can do um I'd say that the biggest thing is just knowing you're eighty d converters and knowing your box that you're using I have on the particular box that I have it's great because as like a little as a green light when it's getting signal and then a little red light flashes when it starts to get close to peaking so I know that I'm just always setting it to just barely tickle that red so my end's going into pro tools or that level and then when it comes back out it's automatically at that level because I have everything dialed toe where you know and I don't even touch anything now it's just like d I comes in I sign it out and it's just already there um granted that's kind of a more luxurious way of doing it what you can do to test is you khun send let's see so you could send I'll just try right now actually to see if it'll work on this particular set up so create a new track dea test not testing test of and then rd I was coming in line one really so and all kind of talk about the the signal flows is if I can get it working that way don't waste your oyster mind with useless information I've done is I've taken this uh d I signal I've gone out of pro tools into my reign in box and now instead of going to the amp I've plugged it back into the d I and now you're able to control the volume and you can kind of match your two meters there e would be willing to do that okay so now this line these up and I should have been a little click I mean there's all these tricks you can do but I move it and trying to get through this so fast right now that if I gave every single trick away it might take forever yeah and then we'll see how see how close we can get um pretty darn close and then something here we can check the peak that's probably about as close as we're gonna get um and the only and another reason why those might be different is because now we're going through the electronics of you know, the a d d conversion like we were talking about like your you have your translation so you have you know you have a one translator going in already have another translator coming you know, that's putting those words back to, you know, electric uh electricity basically coming back through back into the re inbox out of that back into the d I box back through the mic preempting back in so it's not going to be exactly the same but that right there is a great way of just testing to make sure that you're getting the same level. Yeah, that just kind of thing just kind of prevents you from being paranoid about like, oh, maybe I'm just over driving the way more than actual performance was right? Yeah, and a lot of times you may want to like, I sometimes use that as an advantage, you know, because because you can't actually do that, yeah, a cz. Well, as you know, when you roll off the tone on your guitar, it sounds totally different than if you were to do it like this, you know, because as you roll your tone off, like the tone actually changes on your guitar and the impedance changes what's hitting the amp. So when you do it like this, it's, a totally different sound, right, so sometimes it's, better or worse, you know, yeah, that's actually really good question. Thank you.
Find out exactly what you need to get a great recording on a super tight budget in Guerrilla Recording with Beau Burchell.
Beau is a vocalist, guitarist, producer, and founding member of Saosin – his discography includes credits on songs from The Bronx, From First to Last, and The Bled. In Guerrilla Recording, Beau will show you how to walk into any recording situation and make the most of it.
Whether you are making do with with 1 mic, 3 mics, or a fully staffed studio – Beau will help you focus in on the details that will really make a difference on your track. You’ll learn best practices for recording vocals, guitars, drums, and bass on the cheap. Beau will also talk about workflow and how to listen to your track to make sure you captured the best sound.
You don’t need a big budget and high dollar equipment to get a quality recording. Learn the gear and techniques you need to get the sound you want.
Featuring a live studio tracking session with Beau and Seattle band Lo, There Do I See My Brother