tweaking presets for direct recording

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primerib

Member
so I have some nice presets that go to my matrix and guitar cab and also to FOH. but they don't carry so well over to recording. what are some tweaks you guys do to presets to get them to record better?

now keep in mind, I historically have a sound tech tweak my amp settings for me in the studio. but I notice they cut lows and highs and boost mids. is that a safe place to start for presets?
 
For me, it depends on the project.

My usual workflow would be to track guitars as full range as possible without any overs or phase issues.

Then make the EQ / compression / delay / reverb decisions during the mix of the entire track.
 
the sound u like with your matrix and guitar cab (i play the same setup) has too much information for a recording and a mix. when u record and mix u are trying to put the whole band (bass, keys, guitar, vocals, whatever....) in 2 speakers.

ofcourse it depends on song u are recording but cutting some lows and highs is a good start.

and a guitar which sounds in a mix great might sound terrible all alone.
 
The problem with making too many radical EQ decisions when you are tracking is, it doesn't give you much flexibility later when you are mixing and need to make the guitar track work against the other tracks.

It really boils down to how you like to work.

I have seen folks that have a great ear and can carve up instruments while they track and end up with great mixes.
 
as barhrecords said...i would also leave the eq work to the end. record the sound u like, just cut the frequencies which u are sure that they clash with other instruments and u wont need those frequencies.

the rest u or whoever mixes the track can do later.
 
primerib said:
what are some tweaks you guys do to presets to get them to record better?

now keep in mind, I historically have a sound tech tweak my amp settings for me in the studio. but I notice they cut lows and highs and boost mids. is that a safe place to start for presets?
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It's really hard to say as it depends on what you're starting from and where you want to go, sonically speaking. I agree with the above posters that's it's best to leave most EQ, compression, etc. until mixing in the DAW. There are exceptions, of course. If you've got a ton of low end flub or extreme harshness up top you'll probably want to do some cuts on your preset. Generally, I leave things alone on my presets.

My advice is to record a very short drum/bass groove and then try out your presets by recording them in the mix and listening back. If you ultimately plan on double-tracking, quad-tracking, etc. do that now as well. Often what you hear on playback seems a lot different than what you hear while strumming the guitar. Take note of what you like and don't like. You'll eventually get to a point where you're creating presets that don't require a lot of drastic measures during mixing.

Personally, most of my recording presets are much brighter with less midrange than the ones I use playing solo. But, that's just me. I tend to like darker mid-heavy tones when playing solo but in a recorded mix it just doesn't work. Generally, I use different IRs when recording or tone match presets.
 
First thing, your presets for live will probably be to dark sounding for a record. Try not to cut ANYTHING eq wise until you are 90% there with just the IR. I have to disagree with the posters above, tracking and waiting until the end to eq is a mistake to me. Your working yourself into a corner by doing that. Der JD has the right idea with doing some test tracking before you go to far. The guitar has to "fit" with everything else so doing things one step at a time (drums first, bass, then guitar) has never made sense to me and only works for folks who have been doing studio work for years and know what to listen for. Best thing to do is record a DI of the guitar, setup the axe fx to reamp, and spend some time tweaking drum, bass and guitar sounds together at the same time. This is of course IMHO :).
 
toolfanem said:
I have to disagree with the posters above, tracking and waiting until the end to eq is a mistake to me. Your working yourself into a corner by doing that.
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It's definitely how you like to work.

And there are lot's of ways folks do it.

I am more old fashioned. I don't mind changing the eq on the cue mix for everyone to hear what they want during tracking. But I like to record the fullest possible good tone. So yeah no bass howl or problems but as full a tone as possible. The musicians can hear a differently EQ'ed tone if they want to.

In my experience it is always easier to cut than add later.

But hey I've seen folks that can start with pretty surgical EQ on the basic tracks during tracking and end up with a killer mix.
 
barhrecords said:
It's definitely how you like to work.

And there are lot's of ways folks do it.

I am more old fashioned. I don't mind changing the eq on the cue mix for everyone to hear what they want during tracking. But I like to record the fullest possible good tone. So yeah no bass howl or problems but as full a tone as possible. The musicians can hear a differently EQ'ed tone if they want to.

In my experience it is always easier to cut than add later.

But hey I've seen folks that can start with pretty surgical EQ on the basic tracks during tracking and end up with a killer mix.
Click to expand...

Agreed. It can certainly be done both ways. I just wonder if people spend to much time tweaking the amp/eq settings rather than looking for a more suitable IR.
 
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