In Part One of this series on how to record electric guitar, I talked mostly about how to get your guitar equipment set up and ready to record. I talked about how to set up the guitar for intonation and tone; how to set up and prep the amp for optimum sound; and how to get your effects pedals and processors ready to go in a studio setting so you can get the good stuff at the source have the best chance to sound great.
Next up is, of course, how to capture those awesome sounds! Here’s what I do:
In my last article, about GAS (Gear Acquisition Syndrome) and the curse of thinking that gear will solve a studio recording or sound problem, I mentioned that it’s much more important to have a good song than to have the latest recording equipment. I want to expand on that just a bit before moving on to more mundane things like mic placement, EQ or room treatment.
It’s all about making a great recording at home, in your spare bedroom, garage or study, but it’s also about the bigger picture of what things are really important during the process.
GAS. We all use it to get around in our cars. We need it to get to work or school, make it to the gig, go to the grocery store or cruise down to the local club to check out that awesome new band, right?
Actually, that’s not the kind of GAS I’m talking about. GAS, here at Home Studio Geeks, is a TLA (Three Letter Acronym) for one of the major pitfalls of any home studio owner: Gear Acquisition Syndrome. Check this out:
There are several schools of thought on the best way to record electric guitars and each one has good and bad aspects to it. Well, not really. Some are totally awesome, some methods suck big time, while others are somewhere in the middle.
To some extent, the style of music you’re recording, and the space you’re recording in, will influence how you choose to capture the guitar sound. But regardless, there are a few key things you have to get right. Here’s my take on the first 3:
In the old days of digital audio (and by that I mean last year), there were a only hand-full of audio interfaces to choose from and it was mostly a matter of how much money you had to spend and what features you needed for your project. That part hasn’t really changed but…
…it’s different now.
A quick look at Sweetwater or Musician’s Friend or any of the countless music gear-for-sale sites and you’ll find all kinds of audio interfaces vying for your attention and the contents of your wallet.