Radio Atolia - Wicked Sensation Cover Project - Behind The Scenes:

smitty_p said:
It’s all about what you‘re used to. It’s more or less instinctive at this point.
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I look for ways to employ a doctrine of economy of movement, especially in fast solo phrases, but this chord has a very nasal, chainsaw-esque effect that i find delightfully agressive in tone.

It's just become a kind of signature thing.
 
Inspector #20 said:
I look for ways to employ a doctrine of economy of movement, especially in fast solo phrases, but this chord has a very nasal, chainsaw-esque effect that i find delightfully agressive in tone.

It's just become a kind of signature thing.
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I normally see that kind of chord voicing employed in the context with an open C(add9). In that context, it is a very minor shift from one string to another.
 
smitty_p said:
I normally see that kind of chord voicing employed in the context with an open C(add9). In that context, it is a very minor shift from one string to another.
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Interesting. Makes me grateful to have such limited musical knowledge!

Blessed be The Neanderthal
 
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@ivan H
syscokid said:
I'm liking this one a whole lot. If Dean DeLeo/STP whipped up a version of Wicked Sensation, it would sound like this... (y)
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Thank you, Man!!!!

I lost my voice for a week, about 3 weeka back, and im almost rehabilitated enough to sing it!!!!
 
@syscokid - the amp was placed here (beneath the red chairs) and turned towards the camera. I ran a mic and guitar cable into the next room where the PC is located and cranked it wide open.

20230106_111202.jpg

My house was empty, but during the recording process, my neighbors - 4 houses away - texted me "LYNCH MOB!"
 
When I'm asked why i record a cabinet with a microphone that's 4-6 feet from the speakers, in a hardwood-floored room, i try to explain that its that "rapidly decaying" ambient "splash" of sound that the room reflects back onto itself that i desire most.

Then, i read an article by Jimmy Page;

“The whole idea, the way I see recording, is to try and capture the sound of the room live and the emotion of the whole moment and try to convey that across. You’ve got to capture as much of the room sound as possible. That’s the very essence of it.”
 
Inspector #20 said:
When I'm asked why i record a cabinet with a microphone that's 4-6 feet from the speakers, in a hardwood-floored room, i try to explain that its that "rapidly decaying" ambient "splash" of sound that the room reflects back onto itself that i desire most.

Then, i read an article by Jimmy Page;

“The whole idea, the way I see recording, is to try and capture the sound of the room live and the emotion of the whole moment and try to convey that across. You’ve got to capture as much of the room sound as possible. That’s the very essence of it.”
Click to expand...

Jimmy Page didn't use only a distance mic, though. His recording technique employed both a close mic as well as a distance mic. The two mics were mixed together as desired.
 
smitty_p said:
Jimmy Page didn't use only a distance mic, though. His recording technique employed both a close mic as well as a distance mic. The two mics were mixed together as desired.
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You are absolutely correct.

However, i really dislike what i hear in close-miking, so i tend to avoid it.

With my Origin's volume on 8, even at 3-5 feet away, there's a tremendous amount of projection taking place. You can really hear this effect in those brief pauses in the rhythm guitars in Wicked Sensation.

Its a kind of ambient aura that i really like and im very drawn to it. I even use the effect when recording other genres.

Here's my isolated tracks from the 01/06/2023 session. Listen just to the breaks in the rhythm guitars and you'll hear the rapid decay of the room and you can literally feel how hard the rig is being driven.

Its that sense of rage and urgency that im shooting for...like a pot about to boil over.

Dropbox - Error - Simplify your life

www.dropbox.com www.dropbox.com
 
smitty_p said:
Jimmy Page didn't use only a distance mic, though. His recording technique employed both a close mic as well as a distance mic. The two mics were mixed together as desired.
Click to expand...

I still use close miking live because of volume considerations. But, i have just grown weary of the cookie cutter approach to everything.

Great article hear by a top producer on miking guitar amps.

www.mixonline.com

Top Guitar Miking Tips—How to Capture a Roaring Guitar Amp

By Rich Tozzoli. Get top guitar miking tips from the greats, sharing how they miked Alex Lifeson (Rush), Ace Frehley (Kiss) and other legends.
www.mixonline.com
 
Inspector #20 said:
I still use close miking live because of volume considerations. But, i have just grown weary of the cookie cutter approach to everything.

Great article hear by a top producer on miking guitar amps.

www.mixonline.com

Top Guitar Miking Tips—How to Capture a Roaring Guitar Amp

By Rich Tozzoli. Get top guitar miking tips from the greats, sharing how they miked Alex Lifeson (Rush), Ace Frehley (Kiss) and other legends.
www.mixonline.com
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Yes. It's a very good article. It describes various close-mic'ing considerations (on/off-axis, mic'ing angles, etc.). Sometimes, he'll use multiple mics of different varieties (diaphragm, ribbon, etc.) close-in.

Later in the article, it adds the element of capturing room ambience, describing it as something you want sometimes, and others you don't. He normally uses two mics for that, also. I wish he would have said how far away he normally sets his mics for ambience. He didn't use the term "distance-mic" so it's not clear how he is setting it up.

Personally, I like Jimmy Page's approach: Using a close mic and a distance mic and blending them, as desired. The close mic is there to deal with the proximity effect of sound dispersion, but the distance mic gets more of the room ambience for some liveliness. Then, you can just mix them to taste.
 
smitty_p said:
Yes. It's a very good article. It describes various close-mic'ing considerations (on/off-axis, mic'ing angles, etc.). Sometimes, he'll use multiple mics of different varieties (diaphragm, ribbon, etc.) close-in.

Later in the article, it adds the element of capturing room ambience, describing it as something you want sometimes, and others you don't. He normally uses two mics for that, also. I wish he would have said how far away he normally sets his mics for ambience. He didn't use the term "distance-mic" so it's not clear how he is setting it up.

Personally, I like Jimmy Page's approach: Using a close mic and a distance mic and blending them, as desired. The close mic is there to deal with the proximity effect of sound dispersion, but the distance mic gets more of the room ambience for some liveliness. Then, you can just mix them to taste.
Click to expand...

I thought you would dig the article.

Ive always looked to be different. Im not sure that will ever stop.
 
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