Is it rare that real amps are used in commercial recordings only? How about independent bands? Whether they are small labels, or self funded? At all the studios here in Boston, they are still using real amps. Most of the "signed" bands here are on independent labels, so I don't know how studios are booked by whatever is left of the major labels now. I know of a few artists on semi-big labels, but they choose to record at these studios because they have the cool toys. And, at the studios my friends either work at or own, they are still trying to get a killer first or second take with the band recording live. That's how I had always done it. The first or second take locks the guitar and drums, with the emphasis on an amazing drum track. If you're in a large live room with baffling instead of isolation rooms, you want the guitar and drums to be locked up, and get a stellar take between the two so that any cross bleed in the mics doesn't matter. All the tracks are keepers, so no one cares if you hear guitar in the cymbal mic, or vice versa. Then, if there are punches you need to do with the bass, it’s not a big deal as it’s been isolated.
For me setting up, it's always drums and band in the largest room. Guitars are in isolation, and bass is preferably always in isolation playing through an amp and DI. The only upside any of us see about Pro-Tools is that now we can set up as many mics and tracks as needed. Unlike when we recorded to 16 track tape, and had to mix down the drum tracks to two tracks from seven, the primary guitar to one track from three or four, and the two or three bass tracks to one. Then, wipe the original tracks clean, so that you can start overdubs. The last couple of times I was in a studio, my guitar sound was recorded with an SM57, Sennheiser 421, and some sort of ribbon mic on each of my JTM45 and DST30. There was a large partition between the two amps to cancel bleed, and then there were two overhead condenser mics to capture the natural reverb of the room the amps were set up in. The bass was recorded in a similar manner. We were all in the same room, and we had eye contact, and could see what we were all doing. For a couple of songs which were over six minutes in length, with extended jamming, we pulled it off in one take. Then, we went back after to layer in some rhythm guitar, twelve string, keyboards, Mellotron, and do all the real vocal tracks. But, the basis was still live, like we'd play it on stage.
The entire idea was to record a very alive sounding record. I know that several studios still work in that manner. A couple of friends of mine who are excellent engineers will only work this way. They'll do otherwise if you want, but they want that big live drum sound that is full of energy and excitement. You don't get that when layering tracks. I read an article a few years ago about why today's music sucks, and it's not about genres. It's about production. Modern recording with Pro-Tools, autotune, and the whole cut and paste mentality has created sterile, lifeless music that has no excitement. There is no tension created by one person who is either just ahead or behind the beat, or a couple of cents off with his tuning. You also don't get some of the other little nuances as ringing of a ride cymbal or other little things that trick one's brain into thinking they are in the same room as a band. Instead, everything is manipulated to be as perfect as possible, and losing it's life in the process. It also creates bad players. I really think that being able to cut and paste allows people to no longer be prepared, or know what they're doing. I've sat in on stuff to watch someone ask to cut and paste something instead of fixing all his parts, only to find out the tempo wandered too much and it was impossible.
This song was recorded as I mentioned above. It was at Q Division Studios in Somerville, MA. My guitar was my '69 SG Standard going into the JTM45 with a 4x12 (I forget which one, maybe theirs) and my DST30 (AC30 clone). SM57 and Sennheiser about a half inch away from the speaker, then a ribbon mic maybe a foot away from each. then there was an overhead condenser mic. The bass was run through an Oliver bass amp with 2 -12 inch speakers. I remember Rafi putting an AKG of some sort and a ribbon(??) mic in front of the cab, then also went D.I. Guitar and bass amps were in separate rooms, and we were both in the same room as the drummer, and I whispered the vocals so we could keep our place. The solo was part of the original first take, as all rhythm guitars starting at the break were added later, as well as the Hammond organ and Mellotron. At 8:02 long, I really didn't want to have to try to do take two.
Then, for this track it was a Hummelvision in Jamaica Plain, where George Thorogood recorded at for Rounder Records. It was a great live room to record in. An old speakeasy club. It was recorded on 16 track tape. We set up the guitar and drums in the same room with some baffling. The bass was in the only isolation room. This track was our "warm up" to get levels. The only take we did was good enough to finish off. Only some minor rhythm guitar and feedback was added, along with the vocals.
Then, my favorite of tracks we recorded at Hummelvision. One take, beginning to end. Again, rhythm guitar overdubs added later. This and the previous track were SG into JTM45 with a Blues Driver, DD-3 Delay, and Cry Baby.
I don't think I could work with a model or patch. Not at this stage of the game. I'd love to record something new sometime, and I have the studio and engineer worked out. Just need to get the guys I play with on the same page. Ideally, I'd love to record on a soundstage, and record like we were playing a large stage. The excitement would be there for an excellent recording.
Sorry to hijack your thread Chris.
