Reamping Demo: One Mic
Reamping Demo: One Mic
12. Reamping Demo: One Mic
Studio Walk-Through14:00 2
Choosing Gear and DAW Discussion42:05 3
Prep: Strings and Tuning30:44 4
Prep: Picks and Playing Position18:10 5
Editing: Melodyne and Quantize33:22 7
Editing: Noise Gate20:00
Editing: Adding Glitches and Compression22:20 9
Amp Sims and Impulse Responses38:25 10
Real Amps and Mics27:57 11
Reamping Overview11:31 12
Reamping Demo: One Mic20:03 13
Reamping Demo: Two Mics13:12 14
Axe-Fx vs. Kemper21:25 15
Making an Impulse Response16:08 16
Axe-Fx Tones18:50 17
Mixing Overview24:44 18
Mixing Demo15:01 19
EQ and Compression38:08 20
Reamping Demo: One Mic
We're gonna be re amping is I'm gonna be showing you how to get tones based on the riff of the salt um and this is really important because every part of every song should sound really awesome that's my opinion but I I think it's a pretty solid one um okay so okay so here might be eyes these two tracks god these two tracks of the d ies and then let's turn these off ok so these I did a little demo while we were setting out that's what this is show you the second you want to tell everybody what song you're working this right now this is dead and buried by day to remember so I'm revamping the chorus right now I'm going to demonstrate how to find how to find the this speaker center and how to eliminate fizz what is that device you'll wipe your hand by the way there's a lightsaber so you can see it on star trek the next generation star wars it was a joke okay um all right what you're going to need isolation headphones I don't know how you're going to do this without isolation headphones you...
can try but it's probably gonna take you all day long so whenever I came here today there the other day at creative life and I started setting up this is going to be different for everybody and everybody's house you might have an old house uh the wiring and electrical is different in everybody's house so I had to do something a little bit different here a creative life that, uh my assistant jamie actually helped figure out we had a really terrible buzz I can demonstrate the bus or maybe I can't anyway way that's the nasty buzz I had to deal with so this is what we got um I don't have to do this at my house for whatever reason it's just that the electric has set up differently so you kind of have to experience with buzz and that's gonna be a problem you run into so um we're going into here from there we're going to the re in box I'll just hold this up um we're going into the re ambac's with an xlr and this does have a ground list on it, but it didn't seem to make a difference for the buzz. The only ground if that made any difference was the d I and buzzes can drive you nuts. It was very stressful having having to deal with that. So we got we got we got it taken care of very excited for that and then from there we've got the tube screamer this is the one that we're using today there are a bunch of different versions of this the one that I use mainly on the common courtesy album is is a hand wired uh, version and it's much more expensive than this one but you're making me uncomfortable eso anyway, those were these air the settings that we're using uh just like goofing around my job is just so much fun. Okay, so let's turn that guy on let's get the mic there the uh the camera over here at the at the cabinet so it's really important that you have, uh, bright flashlight. All right, so you need your isolation headphones on and if you guys can hear at home this hiss should be coming through now so you can either use a flashlight which most people have now listen to the high end of the hiss as I move the micro wave the center way so we're pointed right at the centre what I'm gonna do uh this is my favorite technique you guys khun er mess around with a placement if you want but my signature move is to find the center and then move it over by about an inch. So it's pointing about it's right between the cone sits on the edge of the, uh, center yourself access. Okay um so we got the for anyone who was not wearing headphones he said listen to what happens to the high end describe that for someone wearing when you're right over the centre the high end is very intense um it's very loud whenever you move it further away to the edge it it basically fades away so um that's a good way to find the center or you going to use a flashlight I end up just always factually it's quicker okay, so we got the signal going through we have everything ready so let's record the chorus of the dead and buried okay, so if you guys saw I don't want you to get confused with this um this is the guitar we just recorded. Okay, so when I hear that I kind of wish that it was a little fuller sounding now without doing anything extreme and that's what I'm all about is trying to solve problems in a simple way so let's go to the two screamer for for a second. Now this is a is a very situation specific um, technique and this technique it's for strumming to make it sound a little bit a little bit bigger. So, um we have the we have the tube screamer here with our settings is that in the office where the two three with our settings? Um now the further you you turn it this way the brighter and thinner the tone but the tone will cut through more so we had it here for that tone let's turn it down if you turn all the way here you're going to get a really um kind of a muted sounds so let's just put it at twelve o'clock for this one so we're going to run the same exact signal through with a different setting on the tube so if you guys could hear that at home you hear that there's a little more body uh, little more body in this tone the first one which I just switched back to the first one has a little more of a twang. The second one is a little fuller so I wouldn't end with this tone for this kind of a part I would just keep dialling it in to get sounding thicker and thicker um but I think that the method is ah pretty understandable. So couple questions from the folks in the chat room maybe you're already going to cover this, but they're wondering eh about how you choose the best speaker in the cab on and be kind of how you experiment with mike position as faras like on or off access tilting at all that stuff? Well, that's the thing that like I was saying earlier, my go to position is right off access. I have experimented with the most ridiculous set up so that I can think of with mike's that you should probably never put on a guitar cabinet and this this is the setting that I have ended up with have done all kinds of you can try it at home whatever you want but this is just what I what I use so you khun you tilt it around and put it on the edge and all kinds of stuff um but this is this is my is basically my setting and this is what I've come to uh have you pretty much always used the fifty seven slightly off axis? Well, basically I'm going to go basically yes, but I'm going to go over some other things that I do also use uh and you can ask the question to a lot of people were asking mark zero said where do you usually place the cab in the room is it in the center? Is it far from the walls or corners? A lot of people wanted to know and let's be cleared everybody home this you know this is this is the room we used for you know all kinds of different courses for everything from, you know, excel software to you know, yoga or some like that. So this is what you see here is by no means acoustically perfect are we suggesting this exactly what you should do it homer most of this room that we have here so yes, yeah, this is not a super ideal situation um but I do want to go back really quick uh someone else about choosing the right speaker um if all the speakers are identical as long as like there's nothing really wrong with a lot of them it's just you have a pretty safe bet that they'll sound the same but it's not always the case so if you want you could try to do the exact same mike position on every speaker to see if you have one that you like better but chances are you've just done a different position on the same speaker and it sounds different so also every fifty seven sounds different um which is a whole different problem but uh so my advice is if there's nothing that's terribly wrong with the speaker if they're all identical and your fifty seven is relatively new it's not beat up or anything like that you should be okay with you know, whatever speaker you throw it on as always is okay, but aaron actually now thinking about it for the ghost inside he had a bunch of different types of speakers in there it was uh um remember what the other speaker wass but we didn't choose it. So we did mike it up though, and what I did was like tried to make it sound as absolutely as good as possible and that's the only way to do it you can't just throw a mic on one's bigger than throw it on the other and say, well, I like that one better because well, you have to do you have to find every speaker every guitar, every amp every mike everything has its sweet spot has its purpose you can't just throw it on and expect to get a result immediately so you spend time with if you have different speakers you spend time on that speaker and you experiment and you try to make it sound as good as you can if you have a mic that is your favorite mike like me I love fifty seven so I know what a fifty seven sounds like on a speaker that I like so I'm going to use that um because it's kind of a reference that I have memorized I know the feel of the microphone so um I'll put it on the different speakers and I will try to make it sound good you khun use different likes if you want but always treat everything as though it's going to be the best if it's an option if that makes sense so if you have different speakers and you don't know why you would use one over the other, treat them exactly the same don't just favor one because you want to be done quicker or something like that spend time that's what's going to make the difference so that's how I choose the speakers which was a very important question somebody else has to question about cab placement in the room have placement I just you don't want it again mentioned that this you know what you see here is not what we're suggesting cab placement of room and also people asking about uh whether you uh ever take the cab off it's castor's or not uh yes, I've I've done different things I've put a cabinet on block cinder blocks have had casters no casters I don't like having cast in a cab for one it's really easy to move by accident so I don't like that if you're going to raise up a cab put it on something that's not going to move like cinder block it's the very cheap you buy bricks if you want whatever something that's very solid um uh the advantages of actually doing that though in my opinion haven't been substantial so I'm not going to go out of my way to do that but it does it does help with isolating the cab from other vibrations that will travel through the floor and vice versa vibrations coming from the cab traveling through the floor so getting off the ground will actually kind of help it be quieter in other rooms if that makes sense so room placement room placement um you absolutely don't want to put it in a room you don't want to put it in a room that's really small that has some kind of let's let's talk about a bathroom I've heard of people putting things in a bathroom to record um you're going to get an immediate reverb in that room you have a small room the reverb is going to come right back to the microphone immediately so it's going to be changing the tone in real time and that's like the worst situation that you could do unless you want a bathroom reverb sound it's gonna pick up on that mike um if you're going to be in a in a larger room my suggestion is actually had a slide yesterday I don't feel like bring it up but um basically I tracked in a larger room um I always like to pull away from the wall I don't know if that makes a big difference, but I always like it away from the wall and then I'll place things in front of it that will absorb the sound from bouncing around the room but will not reflect it back to the and that's the key you're not you can't just put a piece of wood in front of this because the sound is going to go right back in you're gonna have some kind of weird face problem and your whenever you have something that close your reverb you're slapped back your echo delay that's natural is loud and fast and that is the worst case scenario so um those are the those are the extreme situations that I can think of uh but if you're in a bedroom if you through if you're in a bedroom that's kind of echoing heathrow mattress in front of it that would really be probably be awesome actually what about isolation cabs isolation boxes attenuate er's other things like that isolation cabs I don't have a lot of experience but if you would use one you have experienced with them you should answer this actually don't have experience with isolation yeah I have the the randall I s o that's been modified we put out a special edition vintage thirty in it and swapped out all the padding on the inside to our lex it just kind of took the boxing us out of it you know it's it's really the same type thing except it's an isolated signal yeah I know like the result from it I do I love it actually I use it all the time and actually one thing we'll get into laters is the am profiling and it works awesome for that yeah, you know, because it's it's a real true representation of so in theory if you're going to stay that sounds great I'd say that would be a very ideal situation because you can have your amp microphone cabinet set up and it's not being touched it's not being moved there will always be that you don't get any real riel interference from you know reflections are always is anybody else in the room making noise are in and the other cool thing about it is especially for home guys is, you know, you khun, you can crank it pretty loud, you know, it doesn't ten you are a lot of the a lot of the sat is not silent, I mean that you know that, but I so cab still is very loud, you know? Of course you opened the lid and it will blow your face right off on the back wall, but, yeah, it's still, you know, it's it's fairly loud so in apartments situation or something like that, probably not really ideal um, you know, but I think it works really well for recording, picking the right eye. So cab's probably important now, because they do tend to sound pretty boxy, it'll change the sound if you're not. Yeah, yeah, and sometimes it's not an ideal high gain situation, you know, if you're if you're recording heavy guitars, you know, there's a lot of spls bouncing around in that little box right now and sometimes it's not a great result, but you can get really cool results with it for sure. And if you are in a band touring, it is a really cool thing to have on the road because you have your guitar tone just boxed up basically, okay, so I want to get oh, one more quick question. We got about fifteen minutes left. I know you have some other stuff you want to cover. Quick question is when the record from nikolai two fifty two, when you record with two mikes, are they both mano signals going toe a bus, or are they mixed separately, then combined later? I I always have them separated and combined later because a lot of what I do, I like to have a lot of flexibility to the end. Um, especially with mixing microphones because you could get some wacky results from that. And sometimes you might think it sounds good right away, and then you come back to it and it's not so great. So if you run it through a bus, um, I'm assuming they mean a hardware bus, uh, going in with one signal. So if you're doing some way that you don't have flexibility to change later. So with that being said, I would love to talk about dual miking there's, nothing about that. Whatever. Okay.
Ratings and Reviews
a Creativelive Student
Berklee College of Music Graduate here '03. I came across a snippet of this course on youtube and the tip about HP the DI to get low end was enough for me to decide to buy the course. One of the things I found so great about this course is how well creativeLive has put this together. From the high def multi-camera shoot, to the screen capture, to the included downloadable slides and Wade's Mesa cabinet IR, the production is very well put together. Kudos to creativeLive, you are doing the right thing. I was very impressed how articulate Andrew Wade was, not to mention that he was willing to share his production techniques. He really thought this through and takes you from very basic steps for preparation prior to tracking, to editing, all the way through to mixing. Additionally, Wade does this all without ego. What a like-able guy! I'd recommend this course to any aspiring engineer/DIY band member, especially if you are going after super tight, highly-polished guitar tracks we see in today's modern productions. The course is a look inside the mind of a talented and caring audio engineer and his philosophy/full-disclosure-techniques for recording guitar. Awesome. Think of it this way...if you have $99 play money and you're thinking of buying a plug-in over this course, please reconsider. The techniques you learn in this course will last you a lifetime and will improve your sound dramatically. Looking forward to more audio production related content in the future!
This class was extremely helpful! I learned soooo much. Andrew is a pro and it is absolutely worth the money. Specifically the tuning section of the class. Did not think to put this much effort into tuning, but it makes perfect sense! You can have the tightest band, with the best musicians, the most expensive gear, with amazing tones, but if they are even slightly out of tune its literally a bottleneck for the whole sound of the song. Thanks Andrew!
a Creativelive Student
Awesome, I am a big fan of A Day to Remember and aways wanted to know how their songs were made. Now I know some nice techniques by their own producer. I thing this workshop is not only for producers but for every person who play on a band. Now CreativeLive should call Rick Rubin to do the same.