A setting such as OverBass with the ACME 12-inch open back is great to get the mid-range push. I like using a 4x12 guitar cab when recording a bass, but if I don’t have one available the GTR3 works perfectly. It’s also an ideal plugin for managing an overly dynamic acoustic guitar in a mix. For me, it somehow ‘centers’ the sound and really controls the dynamic. Once again 2 to 5 dB of gain reduction is enough.įor a bit more extreme compression I really like the Renaissance Axx on guitars. Most of the time I’m using a 4:1 ratio with my release set to 7 and attack on 3 to 4. For faster, more transient guitars, you can’t go wrong with the Blackface CLA-76. For more sustained or distorted electric guitars, the CLA-3A at 2 to 5 dB of gain reduction, with the HiFREQ knob pulled back to 40 or 50, really tightens the sound. I love the CLA Classic Compressors for the way it evens out dynamics on guitars. The GTR3 pack includes great tools for re-amping or enhancing any guitar tones. I generally record real amps but I think it’s a good discipline to record a DI with every guitar and bass track (you can always get rid of them later if you don’t need them). With the Brauer Motion you now have an incredible tool for creativity. I have been doing this in analog mixes for years by sending the delay into a panner. I find this a special way to make the delay hide and go seek in the track for longer solos or guitar swells. This combo makes the delay bounce and pan around the mix. The tape and speed settings really make a difference.įor a special moving panning delay, I recently created a combo of the J37 as a delay into the Brauer Motion. You can try putting this on any guitar track to make it more realistic and energetic, along with adding an API EQ and possibly even add some doubling on the delay side of the J37. I really like the combo of these plugins when I want the guitar to really pop out.Ī recent favorite of mine is the J37 Tape plugin. I follow with the CLA-3A to pull it all together.
Then you band-pass the top end by cutting 10 k by maybe 4 dB to start, and then get aggressive with adding the midrange to pop out the frequency to taste. Just kicking in the circuit creates a magical low-end bump.
The magic of the EQ happens when you kick in the 60 Hz boost but do not actually add boost on the boost knob. This comes from my analog days: basically, this is a Helios channel into an LA3A. When mixing heavier rhythm guitars, something that works nicely for me is the Kramer HLS into CLA-3A. This is when I may pile up a stompbox row of effects in GTR as I might on the floor of the studio. Sometimes while mixing specific guitar parts on a record, I may decide to really alter the tone of the guitar given to me. Again, you will see that I turn on Lo Fi on the delay and band pass the delay to limit the delay’s frequency response to taste. I use a dedicated left and right delay again but this time I actually time one to a dotted 1/8 and time another to a 1/4 note and then feed these returns into a plate reverb such as the Abbey Road Reverb Plates. On the H-Delay I often put in Lo Fi mode for a darker sound, and I also high-pass and low-pass it to narrow the response.ĭelayed reverb is something that often works too, if you want to soften your delays and add a nice depth to the delay bounce. I will also blend in a timed 1/4 note to add a bit of depth. Then I will also blend in a slight 7-up/7-down harmonizer with a slight 55 ms / 75 ms left/right widening. You do not want to time the delay for these since you want these to stand out a little. A delay of 400 ms left and 800 ms right is a good start. These can be a bit lo-fi and not particularly hi-fi, so I like to use the GTR Stomp delay for this. First, I like to take two dedicated mono delays and pan them left and right.
When I mix an Eddie Van Halen guitar solo, I like a blend of delay and doubling/harmonizer and possibly a delayed reverb. I first have to decide the placement and the function of the guitar in the track. Mixing Electric guitars is very much a matter of ‘form fits function’.
0 kommentar(er)
