Do Pro Users Record the Axe-Fx through a mic pre?

When recording an album what output do you use?

  • Balanced outpus into the DAWs interface

    Votes: 27 24.5%
  • Balanced outputs into a mic pre...

    Votes: 13 11.8%
  • S/PDIF output

    Votes: 24 21.8%
  • USB output

    Votes: 45 40.9%
  • Other

    Votes: 1 0.9%

  • Total voters
    110
I use the XLR outputs into an Apollo Twin interface, using a preset I made in the UA console (a Neve preamp into an LA-2A compressor into a Pultec eq). The Apollo gives you the option of printing the plug-ins you're tracking through. Doing it this way really allows me to fine-tune what's coming out of the Fractal in terms of how I think it's going to need to sit in the mix.
 
I use the XLR outputs into an Apollo Twin interface, using a preset I made in the UA console (a Neve preamp into an LA-2A compressor into a Pultec eq). The Apollo gives you the option of printing the plug-ins you're tracking through. Doing it this way really allows me to fine-tune what's coming out of the Fractal in terms of how I think it's going to need to sit in the mix.

You're braver than I am! :) I don't use any plugins in the Apollo console since I have the ability to use them at mix time.
 
You are flat out wrong. Your sweeping generalizations are inaccurate, as well.

Opinions are like assholes even one's got one!

Your sweeping generalisation is actually the inaccurate one however and is completely unqualified.
I did design and build a pro studio and own and use these mics and that studio is still going to this day owned by a major Aussie artist and recording hits.
Likely most here are more live players or home or semi pro studio guys.
All the answers here but two reflect this.

As for the best quality output from an Axe.... probably spdif since it's likely there is some audio compression in the USB 2. Many guys here on the forums here say spdif is brighter for them. If so that could be the reason. Certaining you get the full digital bandwidth via sdpif. Maybe you do via USB 2 but why the sound difference if there is no compression?
 
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I'd say I'm a Pro. I record and mix at 96k so USB is a no go. I take the two XLR outputs and go into my Metric Halo ULN-8. It's very clean and neutral when you want it to be. I run it flat going in. So yeah it's a mic pre and high end converter. I don't do it for the color.
 
Wow. I haven't read this thread, but I hate the rudeness. Uncalled for. Yes the SM57 is STILL used on professional recordings. I still use one from time to time. But I mainly, when I record with an actual amp, I prefer my Royer 121 or AEA r84, which I like better. I have 3 other ribbons, one a Peluso TR-14 (tube ribbon) I like better than the Royer or the AEA, but sometimes I have it doing other things like recording an alto sax or trumpet. .
 
It's what happens when someone makes a moronic statement such as, "recorded with a good ribbon or large diaphragm condenser mic not this SM57 rubbish."
Actually its more when two people aren't able or willing to hear a point of view different form their own, regardless what it is, without attacking or impugning another's character. One can have different points of view and not be a moron.
 
One can have different points of view and not be a moron.
Sometimes, but not always. ;)

And, I didn't attack anyone's character or call someone a moron. Criticizing statements is not attacking one's character.
 
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I use AES out on Axe-Fx, but you didn't have that as an option. I also use AES live into a digital mixing board. Really wish the AX8 had AES out, but I guess you could use an adapter cable.
 
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Has anyone tried running the guitar through the Hi Z instrument input of a high end mic pre and then into the Axe-Fx II?
A mic pre may be unnecessary, and, I want to know what the pro guitarists with access to the best audio engineers do on their albums.
My routing is into the Hiz of the Apollo, and I have my other soundcards running as aggregate device and just route where I want it.
 
Seriously? If you think that the 57 isn't the most wide used close mic for 4 decade if Rick guitar you likely haven't been inside many muc lockers.
As lovely as ribbons are prior to the Royerhigh SPLs were sudden death to most ribbons.
 
Real fast before I attempt to answer the OP's question....

@AlienSexGod I get where you're coming from, but you're pushing an opinion which is why people are feeling the need to debate with you. Me personally, I like the 57 in that vid and here's why....it has a little cut that can easily be trimmed if need be. The Royer is smooth yet kinda dead for me. The mids are a little congested and it has 0 energy. Is it a good mic? Oh yeah it is! I use them here all the time. Do I like it better than a 57? At times....but it depends on the instrument and the sound we're going for, ya know? Tone is the most subjective thing in the world....it's a no win scenario because our ears and needs are all so different. 57's are super popular still and are used today the same as Royer's and even the 421...which can also be arguably, one of the best guitar capture mic's as well. You have to understand....

A paint brush is just that. A tool. There are big fat brushes, and skinny ones. Same with mic's. Thinner sounding mics, thicker sounding mic's, and mic's that accentuate mids. What is best for the job is what we should use. This is why it's almost a moot discussion to even say which is better. What is better is what works on the final application. :) Our ears are so different, you'll get 30 different answers as to what is the best. The "best" is what gets the job done for a particular situation in MY opinion.

The other side of the coin.....I think EVH has one of the most sought after tones in rock history. Like it or hate it, we can thank the 57 for part of that tone. :) Calling it rubbish is well, your prerogative and an acceptable opinion....but it's one I definitely consider to be a bit harsh for what it's worth.

To the OP: I like to consider myself pro. I've toured a few times, have two world wide releases under my belt, and I've worked with incredible known musicians, producers and engineers as well as unknowns that should be known. I make my living strictly from music and recording. Now whether or not that qualifies me to answer this....I really don't know, but I'll share my experiences with you if it will help any? :)

My recording set-up: I always have gone through a console or direct in and out of a decent interface. Lynx, RME, Echo, Midas, Apogee are what I have in both of my studio's right now. When we record, we like to have the best of all worlds and I learned this through working with people like Beau Hill (Ratt, Winger, Europe, Warrant etc) Bob Katz, (Grammy award winning mastering engineer) Wayne Davis (my personal mentor) and Dann Korneff. (Breaking Benjamin)

For example, a guitar track gets recorded a few ways here. We always mic a cab if a cab is to be used. A mic where the paper meets the cone on a 45 degree angle for starters and then we tweak accordingly and may end up with something totally different. Another mic either at close range on another speaker or at medium range to pick up what your ears actually hear when you stand in front of the cab. And a room mic or two in the back of the room to pic up some room ambience.

From there, if the guitarist is using a Fractal or something equal, we run the XLR outs into a mic pre (only for coloring...there are no other benefits to running a pre other than if you have a weapon of choice that just gives you a certain something) or straight into a console. Now, the console will have a pre in it. In my case, it's a Midas and they have some of the best pre's ever made for recording. I don't use much, but without a little pre kick, you can notice a little something is not there. I also compress using an LA2A going to disc just for a nice, consistent signal hitting -6dB peak and averaging at about -10dB.

From there, we always run a DI so we have the power to re-amp and I've never been a fan of how I used to do that. But thanks to the incredible @vangrieg for so graciously giving his time to help me with an easier way to run DI stuff, we are doing it via SPDIF instead of literally running DI boxes and additional outs from a sound-card into the amp or guitar pre-amp of our choosing. (Thank you brother!)

So when all is said and done, we may have 4-5 mic captures of a cab including the room, 1 real distorted track from an Axe Fx or something similar, and the DI. So 7+ is very possible just for a guitar track. Will we use them all? Probably not...but it IS possible....it all depends. Even if we don't, we have all our bases covered. It's sort of like when I record drums. I mic the living crap out of them and STILL run D-Drum triggers on the kit as a safety net or if I decide to hybrid a kit kit like BFD drums or something, i can do it. It's nice to have the back up weapons.

Now, for those thinking this may be over-kill, I'll explain the method to the madness. When you charge people money for the services you offer, sometimes you only get one session with them. You want to do everything in your power to give them options, flexibility and versatility. Furthermore, I have also run a few things in front of my Axe Fx and other guitar pre-amps and VST guitar amps at times. A light compressor, a Tube Screamer and a Boss Compressor/Sustainer. (not all at the same time lol) Why? Just for a little different coloration that is effecting what is being sent into the Axe/guitar pre, that's all.

You can really come up with some cool sounds processing a little before you go into the Axe input. Try a compressor sometime....and get that dry signal that hits the axe nice and tight. Just be careful not to introduce much gain/output levels etc or you pick up hiss. Or try a Tube Screamer with the drive all the way down, tone knob up the middle, and boost the output until it starts to hiss a bit, then back it down. Tweak tone knob to taste, and see where you end up.

So to answer your question in one sentence....I use everything in your poll at once and so do many of the people I hold in high regard. My Midas console interface is USB, so I use that when I need it. Or, I go through the Midas as a part of my signal chain and send it to my other interfaces. With all of these tools, I have the options to do anything and everything.

Hope this helps some. :)
 
I say use whatever methods sounds the best for you. There is no right or wrong answer. For me, I go from Axe Fx (XLR out) into my audio interface which is a UAD Apollo. That signal is run through a Neve 1073 mic pre for color, then to tape emulation, and lastly LA-2A (very slight compression). Sounds good for me. All I can say is experiment.
 
I'd say I'm a Pro. I record and mix at 96k so USB is a no go. I take the two XLR outputs and go into my Metric Halo ULN-8. It's very clean and neutral when you want it to be. I run it flat going in. So yeah it's a mic pre and high end converter. I don't do it for the color.

Hi Henry ULN-8 is a nice unit I use a UA Apollo on my budget. If you are speaking about recording an Axe above then you are recording through the Fractal convertors then reconverting with the quality MH converters. DA>AD..recorded > DS to listen. I would prefer Fractal SDIF or AES > recorded with no conversion....then EQ shape inside D domain or preferably use MH or UA convertors or even more high end converters, like Prism etc, out to a Neve preamp or whatever your favourite is, tone shape there or with a valve EQ and reconvert with high end convertor again.

And how is that?

Because your statement was far more sweeping, baseless and unfounded yet it supposedly countered my argument? You also still have given no info on your own background or experience.

@AlienSexGod I get where you're coming from, but you're pushing an opinion which is why people are feeling the need to debate with you. Me personally, I like the 57 in that vid and here's why....it has a little cut that can easily be trimmed if need be. The Royer is smooth yet kinda dead for me. The mids are a little congested and it has 0 energy. Is it a good mic? Oh yeah it is! I use them here all the time. Do I like it better than a 57? At times....but it depends on the instrument and the sound we're going for, ya know? Tone is the most subjective thing in the world....it's a no win scenario because our ears and needs are all so different. 57's are super popular still and are used today the same as Royer's and even the 421...which can also be arguably, one of the best guitar capture mic's as well. You have to understand....

A paint brush is just that. A tool. There are big fat brushes, and skinny ones. Same with mic's. Thinner sounding mics, thicker sounding mic's, and mic's that accentuate mids. What is best for the job is what we should use. This is why it's almost a moot discussion to even say which is better. What is better is what works on the final application. :) Our ears are so different, you'll get 30 different answers as to what is the best. The "best" is what gets the job done for a particular situation in MY opinion.

The other side of the coin.....I think EVH has one of the most sought after tones in rock history. Like it or hate it, we can thank the 57 for part of that tone. :) Calling it rubbish is well, your prerogative and an acceptable opinion....but it's one I definitely consider to be a bit harsh for what it's worth.

Hi Danny,
Yeah I know my statement is brash and outrageous. I also am aware that 57s are still commonly used but I use outrageousness and shock because that persona is embedded in my name and we need to ween more people off thinking 57s are the be all and end all of guitar tone. I earlier stated that opinions are like assholes... everyone has got one and really I would further add that everyone can be an asshole & sometimes even for the betterment of mankind to push through stale traditions that are holding back progress!

I was an asshole. However I am not solely defined by my outrageous behaviour or statements or opinions.

I would much rather use some quality EQ for more cut off a Royer tone than add a 57 to a mix/ A 57 has cut but to me is simply a rough cheap tone. But yeah great for the money. Best bang for your buck ever and super robust!

What mics Eddie used to record for sure we may never know those guys were off their faces and partying so much I wouldn't trust what they say in interviews. I have no doubt that some engineer or assistance was around who threw another mic or two on his amps and/or what post production was done on his amp tone. Still yes 57s are great for the money.

Cheers
ASG
 
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