One of the joys of rock guitar sound reproduction lies in the simple beauty of this distortion distortion that permeates you as you play a powerful chord of energy, bending or bending a solo musical sustained note. We can almost hear the overtones throbbing the cochlear nerve, blooming and tickling as we speak, right?
In fact, it can often be more difficult to place this delicious distortion in the context of a band than we imagine. Many good guitarists turning back to their juicy dirt at home have a hard time getting their heavy overdrive sounds to sit in a full mix when playing live or in the studio.
When all these instruments have started working together - playing drums and cymbals in silence crashes, another sound guitar or keyboards and singers especially screaming - the sound of the guitar in a carefully your room before it can often be soft, flabby, discolored and almost ... be away.
However, there is a simple way to make it work and exponentially grow larger in an instant, but the solution requires considering an anti-intuitive thought. Just say it: clean it.
Do not let the profit overburden your signal
While a very distorted and highly amplifying guitar sound in the room can be very important, its sound characteristics can be lost if you fight in a crowded mix with other instruments in the same frequency range. In many cases, amplifiers that are composed for extreme distortion are very compressed when you forcefully hit your guitar, causing them to continue falling to the root of the Attack attack.
Many players with channel switching amplifiers switching between clean channels and lead have recognized this phenomenon during recording: they have a microphone amplifier for a good, clear sound and a lead sound that sounds gigantic in the room. but they were surprised to see that the LED signal level on the desktop or DAW really did reach the main channel downstairs when they were playing fair when the ears tell them they should be undone.
Try these two equal amp settings with a full band, even though you're only a short distance from the performance range, and your ears are likely to experience the same reality as the meter: it's clear and your plans outweigh the excess gain his advantage.
To increase the volume of lead or shrinkage and improve their ability to break through the mix, try adjusting the gain control of the preamplifier at the top level of this channel (the gain can be highlighted, drive, overdrive, lead or just ask) , Then, if necessary, increase the main volume slightly to compensate for the reduced volume caused by this lower gain setting. If you have a ton of bass in your EQ, try reducing a bit, which makes the guitar fight less with the bass and kick drum, but allow your own amp to break the midrange - where you actually live the guitar, a bit more authority, in terms of total volume.
These little adjustments almost always lead to a guitar sound that crosses the mix better and therefore sounds bigger. The end product also gives you more energy, which means that the guitar and the amp respond well to your type of attack pickup heavy or lighter, making your game more expressive, everything comes from its performance.
Which does not mean that your lead and crackle sounds should be completely clean and without distortion to achieve this. Of course, you might want to earn a little more than you sing and carry on alone, but additional tightness and resistance at the lower end of the middle class and above all, help you to be heard better.
Play back to Classic Crunch and Wail
We can see various classic recordings to show how well this "cleansing" technique works and how big it has been for decades. If we do not listen carefully for a while, often for many great examples of "his enormous guitar rock," remembers as if it had been quite unpleasant distortion, but listen again to a few, and you will hear in many cases The guitars really are not so dirty.
I know that "out of school" by Alice Cooper and "Cat Scratch Fever" by Ted Nugent looked huge when I was a kid, but a quick refreshment confirmed that the guitars are nothing more than a high-gain amp really just put on a haircut. "Immigrant Song" by Led Zeppelin : forget it. Like the rest of Jimmy Page guitar parts over time, these riffs sounded like giants, but they're not really too distorted or overly saturated if we listen carefully.
For more examples, see "Back in Black" by AC / DC, " Falling on Black Days " by Soundgarden, " All Right Now" by Free (which riffs have long been a banner for a great archetype), or even Enter's "Sandman" by Metallica " Of course, the Kirk Hammett and James Hetfield guitars offer a lot of gain in the second phase, but bass and bass are always compact and powerful, and the mid and high frequencies remain free from fuzz or too diffuse saturation.
Obviously every player metal or heavy hair crusher will need reinforcement in your preamp to get that sound, but even there, the key sound works is to prevent the guitar part from becoming too bubbly or washing. Take it out with a certain strength and solidity, either live or in the studio, and you will be heard, and it sounds good in the process.
Aucun commentaire:
Enregistrer un commentaire