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A Metalhead / Family Man’s Guide To Recording Gear In 2012

Brandon Drury —  July 5, 2012 — Leave a comment

Metal-Recording-Guide

I’m writing this July 11th. I’m not a family man yet. I’ve got a wife and a beach ball she shoved down her shirt. D-Day is schedule for 9/20/12. I’m scrambling to get us into a baby-approved house before Mr. Squirt starts squirting. I’m feeling a gradual incremental shift in the way I view my fiscal responsibilities.

In short, I’m wondering if ditching a few hardware synths and high end preamps would ruin my life as much as paying a super-high interest rate on a house. It’s tricky stuff, but after mixing a remote gig song this week that was tracked with a Behringer ADA8000 I’m starting to think that maybe cutting my interest rate TREMENDOUSLY might be a smarter investment. I don’t know.

Comparison Shop For Behringer ADA8000

What I do know is most head bangers have tight budgets, tiny studio spaces, strict dB limits, and a desire to make ultra-mega metal recordings. A few years ago you were out of luck. Nowadays many would consider the recordings made with apartment-ready, grandma approved recording toys to sound superior to the “real thing”.

I can’t answer if you’ll like my suggestions, but for anyone who is facing such limitations you should at least ponder them. ;)

Drums

Edrums
Drummers that do anything “expressive” tend to hate edrums. I respect this “expressive” thing about like I respect black people putting on acapella concerts at the brocolli section of the grocery store. I don’t understand it, but I’m delightfully curious. :eek:(Why is it that grocery-singing black people are always such damn good singers!!! I heard a 4-part harmony section by a bunch of 7 year old girls the other day. I said, “Dayamm, Gina.” ;). They were in the mayonnaise section. I’m not sure if that matters.)

Power drummers rarely have any issues with a well-setup edrum kit….except for maybe overpowering it.

Everyone has their views on rubber drums. Most of them vary between “bla!” and tolerating them. However, I know very few people who hear the modern drum samples in the rock/metal world and don’t get a stiff one. (If a person hates modern drum samples, he’s just not found the samples that cater to his sonic sensibilities. Seriously. The stuff is A-list, $5k a day studio type stuff. You just have to find what you are looking for.)

Off hand, take a look at:

Comparison Shop For Superior Drummer 2.0

and

Comparison Shop For Slate Digital Drums 4

If you can’t sound badass with these take a look at the expansion packs in Superior Drummer 2.0 for more “old school”, less processed sound. Otherwise, your taste in drums is on another planet from mine. ;)

That BS about how you can tell if X band used X sample on a song is actually true unless you just decide to process your drums to sound like you. I’d imagine NO ONE knows what freakin’ samples I use and I’ve never considered it an issue. This may just be a personality trait of mine where I have to ruin otherwise perfectly fine thingies.

Make The Drummer Program
If you aren’t big on edrums, that’s fine. I’ve noticed that drummers are starting to get computers. This happened in late 2010 or so. :D Young metalheads in particular are more open to this silicone / saline way of working on their noise. I’m finding that if you say, “Hey dipshit drummer. Why don’t you toy around with this and see if you can do anything cool?” they are receptive 40% of the time.

There’s something I really like about a drummer who’s willing to try out this space-age gadgetry even if they end up rejecting it. Few do once they hear the sounds particularly when maybe they’ve made a few disappointing recordings in the past.

If You Use Real Drums
If you are going to use real drums, someone somewhere isn’t getting laid. You guys can work out your journey into preisthood yourself. If you get exactly what you want from recording the real drums, move on.

If not check out Trigger:

Comparison Shop For Trigger

This sample layering business makes mixing drums 10x more fun and opens up some very creative doors if you are so inclined. (Triggering samples of only room mics, for example, is awesome for us guys who don’t have the kind of rooms worth sampling.) Slate Trigger is my preferred tool for sample layering.

Double Duty Overheads / Vocal Mic
For you real drummers who maybe are utilizing samples but need real overheads, the ADK Thor/Odin is the best bang for the buck in large diaphram condenser land. These are VERY versatile microphones that do a pretty damn good job on just about everything. I do prefer my Gefell M930s on voiceover and overheads by maybe 3-4%, but those are $1k a piece. For an all-purpose condenser at a great price it’s hard to beat the Thor and Odin.

Comparison Shop For ADK Thor

Comparison Shop For ADK Odin

Because of this if, a person needs both drum overheads and a vocal mic, it makes since to get a pair of ADK Odin mics and do everything with them.

Metal Guitar

For Brandon’s shop guitar amps are dead. I have them. A few of ‘em are very expensive. I’ve recorded hundreds of them. I’m not as impressed with them as the purists are. They are loud as hell (adversely affecting my Get Laid Points), the tone from them changes daily for no reason, they are susceptible to the room, and on some days they are impossible to capture anything awesome. On a great day, they are awesome.

For my money the Axe FX Standard (about $1,100 on Ebay as of this writing) loaded with Redwirez impulses is the best thing going. My needs may be different from yours. My tastes may be different from yours. I’m flat out convinced that anyone who has done the homework and put the time into their Axe FX to get ultra robo sounds will come out with ultra robo sounds that are are possibly better than the real thing even on a damn good day. You’ll do it in record time, with a fraction of the BS, and you’ll be able to do it at 3am just as well as you do it at 3pm. Skeptical purist buddies of mine say it even feels like a real amp. I agree.

A notable mention is the Line 6 HD 500. This is the first Line 6 product that I haven’t had an uncontrollable urge to urinate on. I’ve heard some OUTSTANDING full-blown robo pro sounds with it. I’d imagine a person has to master the unit and impulses have to be added after the fact for recording use. (This means you record the signal with all fizz and no speaker emulation and run it through an impulse as an insert on your guitars channel. No biggie, but latency could be.)

I have heard outstanding tones done on guitar emulator plugins. Some of them were free plugins. I’ve not had those kinds of results myself for critical metal tones. (Many do well for indie rock-type tone with a real Tubescreamer pedal or clone in front of the interface.) If you are broke, there are many emulators to try and I suspect I may be missing out if I was to put invest the necessary cash to squeeze the tone out of them. (All guitar toys I own tend to require a hell of a time investment to get anything worth while. $$$ rarely equate to allowing me to be lazy.)

Metal Bass

The exact same thoughts on the Axe FX apply to bass. I feel like I’m just getting started with it for bass, but it’s a full-blown monster that is no less capable on bass. Again, I’m using Redwirez impulses. I tracked a hippie-ish rock band with a 60’s Fender P-bass and it was one of the best bass sounds I’ve ever captured. VERY FUN! It was actually a tone that I had used on a metal sessions the day before (saving presets and modifying them is a breeze with the free Axe Edit software) that I had tamed down 20-30%. Done.

If the Axe FX ain’t happening for your wallet, I’m not sure which route to go. The Axe FX is such a tremendous value and so damn good live, too, when set right that I personally feel it’s worth selling gear to get.

My gut says that the hardware stuff still stands out in situations where specific types of distortion is needed. I do get fun results out of the Ampeg SVX, but I seem to like my results better from the Axe FX. Unfortunately, I can’t really speak for any other hardware bass tools.

Metal Vocal Recording

Just buy a Shure SM7b and be done with it. I’ve gone back and forth with this mic a million times (mainly because certain EXPENSIVE preamps of mine don’t mate well with it). The Wunder Pa4 has mades the low end absurd in my place for whatever reason in the past although that didn’t happen on a vocal session tonight. I don’t have that problem with my other preamps.

It’s easy to develop stupid ass views of the Shure SM7b. Our brains are just DIEING to feel that a dynamic microphone is “lo-fi”. That’s total BS. It’s just incorrect. If the thing is dull grab an EQ and pull out 6dB @ 400Hz with a wide Q. If it’s still dull upload the track to RecordingReview so I can hear it and shoot me an email. Something is probably broken. Mine gets too bright when I do that. When a dynamic mic is too bright, you know you don’t have to worry about fidelity. You just need to know how to deal with it and that applies for just about all my mics.

Conclusion

Killer drum tones are very doable even in junky room and even with cheapo mics and such if you take the time to get the sample layering right. This takes a combination of a techical engineering chops and the creative vision.

The need for technical engineering chops goes down tremendously with drum samples like Slate SSD4 or Superior Drummer 2.0. The sky is the limit with these.

For bass and metal guitars, an Axe FX is a prime time tool. I freakin’ love mine and I haven’t touched any of my real amps since I bought it.

For vocals I’m starting to think that I may just automatically reach for the SM7b all the time. Just tonight it won a shootout over a Peluso 2247, Peluso 251 on male vocals. There’s nothing inferior about it. It’s a great tool. If you aren’t getting what you want with it something is wrong before the mic or something is wrong after.

Brandon

Saved Comments

Stan_Halen – 07-17-2012, 01:06 AM Edit Reply
Another great article Brandon!

ElectroWaveStudios – 07-17-2012, 08:18 AM Edit Reply
Hey Brandon, I guess the interview with Danny provided a lot of food for thoughts. I’ve been thinking about using edrums for a mobile recording service or even triggers instead of microphones (Possibly going to use triggers to provide options of recording the drums live and using samples). I’m not sure about how triggers will work while recording the band live in the same room simultaneously with the triggers on the kit. Using an Alesis trigger I/O how do I hook this up to the laptop? I’m using an Allen & Heath Zed R-16 and that is basically a firewire interface. If using triggers alone and Superior Drummer 2.0 in Pro Tools can I run the two interfaces simultaneously during a recording and will there be latency issues?

Alarmist – 07-17-2012, 08:21 AM Edit Reply
Yes, ‘metal’ can recorded/produced in smaller setups. The current ‘djent’ (Tesseract, Perphery etc) scene/sound came from that. Very technical guitarist writing & recording everything themselves at ‘home. ‘Metal’ is too wide a term, personally. Machine-gun drums and solid walls of guitars are everywhere now, and personally most of it is terrible. Expressionless (yes!), soulless, drivel. If that’s your style of metal then yes, you’re in luck. Or if that’s you’re only set-up, then yes, more business for you. For for the sound of ‘all’ metal. No. For me, Kurt Ballou is one of the current recording engineers for metal/rock. Personal taste.

bobbybovine – 07-17-2012, 08:22 AM Edit Reply
I used to be a purist, gotta be me playing with no trickery. And we sounded crappy. But it was reall!! Whatever that means. Being a purist is great with the Million dollar studio setup. But in your basement or bedroom, purity goes out the freakin window. The tools are there, get over your preconceptions of what you “should” do and abuse them is what I say!! No matter what the genre, but for some reason metal guys have a hard time with that. That is until you mix their stuff with samples and IR’s and it blows their mind.

paul999 – 07-17-2012, 08:43 AM Edit Reply
Very good points. My advise is to pay less interest on the house.

Great article and very true. With the vocal mic issue 2% of the time when my RE-20 sounds just plain wrong my Wunder CM7-gt is right. 2% of the time that my Wunder is Wrong my RE-20 is right. That is a ton of overlap but recording others demands you have back up. Recording only yourself does not.

Jeronimo Mora – 07-17-2012, 08:49 AM Edit Reply
Bass is always DI for me. From there I can do parallel distortion (a neat little trick) using a sansamp emulator (TSE BOD). Sansamp has been good to me.

Larry J. Villella – 07-17-2012, 09:31 AM Edit Reply
Great article.

A couple of things that might be useful to Hard-Rock and Heavy-Metal Recordists.

We have a Punk/Metal studio that does Beta Testing for us, so we’re battle-tested

There is a new mic that is absolutely CLEAN at 150dB called ADK ODIN.

Also, there is a very interesting shoot-out between Wunder and ADK Custom Mics:

Wunder CM7gt/k47 VS. ADK CS-67-J – can you pick? – Gearslutz.com

Cheers!

Larry Villella, Founder, ADK Microphones – Guitarist, Recordist, Mic Builder

ADK Condenser Microphones, Class A Condenser Studio Mic, Live and Broadcast, Retro-Sonic Mics, Project Studio Microphone

Riverboy – 07-17-2012, 11:53 AM Edit Reply
Brandon is obviously very happy with the Axe FX, but doesn’t mention the Kemper profiling amp for guitar work. Does anyone here have any feedback on this alternative? Things are clearly very contentious between these two camps…!

garageband – 07-17-2012, 12:21 PM Edit Reply
I always like to open Brandon’s articles to see what the artwork is going to be.

brandondrury – 07-17-2012, 12:22 PM Edit Reply
Hey Brandon, I guess the interview with Danny provided a lot of food for thoughts. I’ve been thinking about using edrums for a mobile recording service or even triggers instead of microphones (Possibly going to use triggers to provide options of recording the drums live and using samples). I’m not sure about how triggers will work while recording the band live in the same room simultaneously with the triggers on the kit. Using an Alesis trigger I/O how do I hook this up to the laptop? I’m using an Allen & Heath Zed R-16 and that is basically a firewire interface. If using triggers alone and Superior Drummer 2.0 in Pro Tools can I run the two interfaces simultaneously during a recording and will there be latency issues?
I recommend starting a whole new thread on this one. Edrums is one can of worms (worth getting right). For real drums I usually would just prefer to have real drums and use Trigger than deal with triggers. My experiences with triggers on real drums has not been ideal.

For for the sound of ‘all’ metal.
There is a lack of variation in the genre right now that makes me mostly bored with it. However, if you are digging a hole a shovel is rarely a wrong way to go. I feel the same about every tool I’ve mentioned here in regard to recording anything from Sabbath to Cannibal Corpse particularly with the limitations cited.

Being a purist is great with the Million dollar studio setup
Being a purist means when your snare isn’t perfect you hire Andy Sneap and he brings 12 of his snare drums…or you move to a different room…..etc. Ultimately, this purist business breaks down unless the band themselves sounds exactly like the band wants to sound in an environment conducive to it. The “what to change” problem is a tough. Most purists I’ve dealt with want nothing changed no matter what it sounds like. That sounds more like laziness.

The truth is fake ass tools sound pretty damn nowadays in good hands. I believe I wrote about this concept last week that you can’t judge a gun by what 2 idiots from a trailer park do. (No offense to anyone, I’m talking about Trailer Park Boys.) I believe the tools mentioned are prime time, but I can’t say the same about the user. None of these tools make the user irrelevant yet, THANK GOD!

Bass is always DI for me. From there I can do parallel distortion (a neat little trick) using a sansamp emulator (TSE BOD). Sansamp has been good to me.
Now that I’m getting some fun sounds with my Axe FX I don’t expect to ever do another DI track again. YMMV I’m getting FAR better results with the Axe FX Standard now.

ADK ODIN.
Ah crap! I forgot to mention overheads. Thanks for chiming in Larry. I just added my overhead section in the article.

Brandon is obviously very happy with the Axe FX, but doesn’t mention the Kemper profiling amp for guitar work. Does anyone here have any feedback on this alternative? Things are clearly very contentious between these two camps…!
Contention? That’s why I don’t like hanging out in guitar player circles. There are literally fist fights over this stuff because the craft has little way of weeding out garbage people. I’m imagining a South Park scene where all the adults are fighting over guitar gadgets yelling “RABBLE RABBLE RABBLE RABBLE”.

Deciding which tool is “best” is tricky and I think irrelevant in this case. From what I’ve heard the two tools are so good that their differences are too minor to matter. The Axe FX is capable of TERRIBLE sounds (just as I assume the Kemper is. I’ve never used it.) The bigger issue…the elephant in the room is getting these tones to fit with bass and drums and vocals perfectly like a puzzle piece. Get that right and the AXE FX Standard will deliver the tones. Get that wrong and it won’t matter how good the tones are. The recording will be “off”. Always.

We are at point now where the digital tools are good enough that people start to get angry….just like they do when they do with sample rate and bit depth discussions.

Brandon

acidfrost – 07-17-2012, 12:50 PM Edit Reply
But where do you get ADK mics? Can’t find any store that has it. Only place I found them was on ebay but they’re twice the price.

bobbybovine – 07-17-2012, 01:05 PM Edit Reply
Originally Posted by acidfrost
But where do you get ADK mics? Can’t find any store that has it. Only place I found them was on ebay but they’re twice the price.
There are very dealers in Canada but Larry emailed me when I inquired about some. I would suggest going to their website and emailing him. Hell he will see your question here and probably help you. I have yet to pull the trigger on them myself.

Larry J. Villella – 07-17-2012, 01:14 PM Edit Reply
Building Gear is One Thing.

Building a Distribution Channel has never seemed to be my strong suit.

Maybe because we are intensely dedicated to Source-Specifics.

Too many Sku’s to Stock. Too many flavors of ice-cream I ask?

Anyway – the primary source right now for inventory is USA.

If you PM me at larry@adkmic.com I’ll help you source Exactly what you need.

Cheers!

Larry / ADK)))

DanTheMan – 07-17-2012, 02:22 PM Edit Reply
Now when are they going to make an in the box effect to make me sound like Barry White? Damn engineers never do the most important thing first! Anyway, I’m with you on this except I’d extend it to any genre barring straight up acoustic folk type stuff. Are there any softwares out there to make a DI electric sound like a perfect condition 1928 Martin spruce top parlor?

brandondrury – 07-17-2012, 03:48 PM Edit Reply
Now when are they going to make an in the box effect to make me sound like Barry White? Damn engineers never do the most important thing first!
They aren’t far off on this. Antares has a plugin that does a bad job of doing it. (Kinda like the yard sale keyboard equivalent of a grand piano.) However, once the proof of concept is there it’s only a matter of time and maybe Moore’s Law.

I’d extend it to any genre barring straight up acoustic folk type stuff. Are there any softwares out there to make a DI electric sound like a perfect condition 1928 Martin spruce top parlor?
Not yet. I’ve not heard anything close on that front, but the sky is the limit.

Brandon

kakeux – 07-17-2012, 05:57 PM Edit Reply
9/20 is a good day for showing up

kakeux – 07-17-2012, 05:58 PM Edit Reply
9/20 is a good for showing up!

kakeux – 07-17-2012, 05:59 PM Edit Reply
9/20 is a good day for showing up…there are risks he’ll end up like me.

Basil1963 – 07-17-2012, 06:07 PM Edit Reply
What family man preamp works well with the Sm7b?

I’m using a Edirol UA-25 USB audio interface/preamp

Dahla – 07-17-2012, 06:10 PM Edit Reply
Originally Posted by brandondrury
I’m imagining a South Park scene where all the adults are fighting over guitar gadgets yelling “RABBLE RABBLE RABBLE RABBLE”.
Hahaha! Just wait ’til the recording engineers joins: “They took our Jobs! They took er jerbs! Der took er jerbs! Der ter duuurr! DURKA DDDUUURRR!!!”

ElectroWaveStudios – 07-17-2012, 07:00 PM Edit Reply
[QUOTE=brandondrury;358592]I recommend starting a whole new thread on this one. Edrums is one can of worms (worth getting right). For real drums I usually would just prefer to have real drums and use Trigger than deal with triggers. My experiences with triggers on real drums has not been ideal.

Will do bro. Any advice would be greatly appreciated

Vic Demise – 07-17-2012, 07:43 PM Edit Reply
When I first started fooling around with recording my (LAME!) guitar playing back in about 1984 or so, I recall using little sh*t tape recorders that utilized these things we called CASSETTES if I recall- I would just play one tape while adding another “track” and repeat until it sounded like what it was (LAM!).
Well, this one time (in band camp) I tried cranking the output of one tape player THROUGH an earphone (the little white mono type that came with A.M. transistor radios) I took that distorted sound and essentially put it up next to the condenser mic (the crummy kind on tape recorders- not a “Condenser” and the resuly was Huge. Freakin’ HUGE!!!.
I tell you this because it exemplifies the idea that you can indeed get your own HUGE sound, often without actually making a lot of (if any) noise to annoy your neighbors..
You may even find that you dicover some weird trick technique that will not only be effective, but even UNIQUE.
It’s likely that your DAW has the equivalent of $100, 000 worth of old school (mid 1980s) toys, only in hardware form, and the only hiss you’re going to hear is the one you PUT there on purpose!!
Good luck!!

bobbybovine – 07-17-2012, 08:28 PM Edit Reply
I think Kak is trying to say that 9/20 is a good day for showing up!

maschneid – 07-17-2012, 09:28 PM Edit Reply
The only thing I don’t like about using edrums, are the cymbals thats it. I have a yamaha kit and love it. However I find that cymbal triggers go out or break easier than the drum pads. Great article!

garageband – 07-17-2012, 09:32 PM Edit Reply
Originally Posted by Basil1963
What family man preamp works well with the Sm7b?
Whatcha got?

dudermn – 07-17-2012, 11:04 PM Edit Reply
whatever happened to the old voodoo valve ?

Basil1963 – 07-18-2012, 07:29 AM Edit Reply
Originally Posted by garageband
Whatcha got?
I’m using a Edirol UA-25 USB audio interface/preamp.

JDWhite – 07-18-2012, 11:26 AM Edit Reply
Brandon, Thank you very much for this, although I will let you know that you are going to be in the doghouse with my wife, because I am going to want to get an axe fx. Before I say anything else, let me say, I am a horrible recorder, and I do not know my ass from a hole in the ground when it comes to it, but want to learn, badly. I am a closet recorder, I have a podx3 (that I can never seem to make sound good) running USB into my computer. I can never seem to find good sounds, much less mix them well. After reading your article, I am hoping that it is just because the pod is a cheap piece of equipment, and I need to upgrade. It sounded good when I first heard it, but that always seems to be the case when coming from worse Can you post a link to the Axe FX that you are referring to? Does it have interface to PC? I have to be quiet (family man . I will throw out there that I have the Superior 2.0, and so far love it. Those sounds are amazing. Thanks in advance for your help. I am very interested in this Axe FX, and probably going to sell things to get it. Thanks again,

JD

cakewalkgg – 07-18-2012, 12:16 PM Edit Reply
[QUOTE=Riverboy;358583]Brandon is obviously very happy with the Axe FX, but doesn’t mention the Kemper profiling amp for guitar work. Does anyone here have any feedback on this alternative? Things are clearly very contentious between these two camps…![/QUOTE

Probably similar contention as the argument between just getting great tone and accurately copying a tone. I’m not taking sides here.. but I’ve read many many arguments between the two approaches. The kemper profiles ams . Themost useful thing I can see for this unit is for someone who has a lot of great amps and doesnt want to haul them around.. they can profile all their favorite tones (with their guitar/pups/cables/picks…etc) and have all those tones portable in one unit.

I wan’t to 2nd the POD HD to the list. A very affordable option to the Axe FX.

If you dont have a Bass and want to program it. Try Prominy SR5. It takes a little getting used to but it sounds Killer… way way better than any soundfont or synth ive found.

Superior 2
Prominy SR5
Pod HD
Reaper
Guitar

< $1000 (less guitar) and you have all you need to start making monster metal….. although some good chops doesn’t hurt

Jahman00 – 07-19-2012, 09:02 AM Edit Reply
Originally Posted by brandondrury
I recommend starting a whole new thread on this one. Edrums is one can of worms (worth getting right). For real drums I usually would just prefer to have real drums and use Trigger than deal with triggers. My experiences with triggers on real drums has not been ideal.

There is a lack of variation in the genre right now that makes me mostly bored with it. However, if you are digging a hole a shovel is rarely a wrong way to go. I feel the same about every tool I’ve mentioned here in regard to recording anything from Sabbath to Cannibal Corpse particularly with the limitations cited.

Being a purist means when your snare isn’t perfect you hire Andy Sneap and he brings 12 of his snare drums…or you move to a different room…..etc. Ultimately, this purist business breaks down unless the band themselves sounds exactly like the band wants to sound in an environment conducive to it. The “what to change” problem is a tough. Most purists I’ve dealt with want nothing changed no matter what it sounds like. That sounds more like laziness.

The truth is fake ass tools sound pretty damn nowadays in good hands. I believe I wrote about this concept last week that you can’t judge a gun by what 2 idiots from a trailer park do. (No offense to anyone, I’m talking about Trailer Park Boys.) I believe the tools mentioned are prime time, but I can’t say the same about the user. None of these tools make the user irrelevant yet, THANK GOD!

Now that I’m getting some fun sounds with my Axe FX I don’t expect to ever do another DI track again. YMMV I’m getting FAR better results with the Axe FX Standard now.

Ah crap! I forgot to mention overheads. Thanks for chiming in Larry. I just added my overhead section in the article.

Contention? That’s why I don’t like hanging out in guitar player circles. There are literally fist fights over this stuff because the craft has little way of weeding out garbage people. I’m imagining a South Park scene where all the adults are fighting over guitar gadgets yelling “RABBLE RABBLE RABBLE RABBLE”.

Deciding which tool is “best” is tricky and I think irrelevant in this case. From what I’ve heard the two tools are so good that their differences are too minor to matter. The Axe FX is capable of TERRIBLE sounds (just as I assume the Kemper is. I’ve never used it.) The bigger issue…the elephant in the room is getting these tones to fit with bass and drums and vocals perfectly like a puzzle piece. Get that right and the AXE FX Standard will deliver the tones. Get that wrong and it won’t matter how good the tones are. The recording will be “off”. Always.

We are at point now where the digital tools are good enough that people start to get angry….just like they do when they do with sample rate and bit depth discussions.

Brandon

You know i just picked up an AXE FX2 and Every one is raving about these killer tone seen some cool stuf on you tube. Now i havent had alot of time to play with it yet but how are you tracking the guitar are you going from the axe fx staright into your daw or are you actually miking your cab??? I love the peavey 6160 preset 25 Live sound gorgouse but when i ran it driect from the back of the axe fx it sounded ehh…
I feel like i am doing somthing wrong i have an arsenel of redwires IRs and I hear people using them on the AXE fx and i dont know how to implemnet them into the box.. Need some advices

garageband – 07-19-2012, 09:29 AM Edit Reply
Even if I know I’m going use a track with a sim on it, I record it as clean guitar sound. Big clean amp, LDC about two feet off the front. Messes up real nice.

garageband – 07-19-2012, 09:32 AM Edit Reply
Originally Posted by Basil1963
I’m using a Edirol UA-25 USB audio interface/preamp.
I have a couple of these and they kill with a SM-7B and just sound great in general. You can get ‘em used for about $250. The 1st gen ones are cooler looking and go for even cheaper.

Symetrix 528E | Sweetwater.com

Basil1963 – 07-19-2012, 10:51 AM Edit Reply
Originally Posted by garageband
I have a couple of these and they kill with a SM-7B and just sound great in general. You can get ‘em used for about $250. The 1st gen ones are cooler looking and go for even cheaper.

Symetrix 528E | Sweetwater.com
Hi Garageband,
I’ll have to check the Symetrix out. I like that it is a channel strip set up.

garageband – 07-19-2012, 11:19 AM Edit Reply
Very nice on the compressor and one of the friendliest de-essers I’ve ever used.

brandondrury – 07-19-2012, 02:57 PM Edit Reply
h I will let you know that you are going to be in the doghouse with my wife, because I am going to want to get an axe fx.
This one is easy. Tell her you’ve decided to get SERIOUS about guitar recording. Record with a real amp every night for a week with it cranked up just loud enough to drive her nuts after 20-30 minutes. Then after that week say, “Oh wow, honey! I found a thing that can do mega tone that is TOTALLY silent!” If she’s like any other woman I’ve ever met in my life she won’t even look at the price tag.

Brandon

Jahman00 – 07-20-2012, 11:38 AM Edit Reply
Originally Posted by brandondrury
This one is easy. Tell her you’ve decided to get SERIOUS about guitar recording. Record with a real amp every night for a week with it cranked up just loud enough to drive her nuts after 20-30 minutes. Then after that week say, “Oh wow, honey! I found a thing that can do mega tone that is TOTALLY silent!” If she’s like any other woman I’ve ever met in my life she won’t even look at the price tag.

Brandon
Brandon how do you connect your AXE fx to your daw? do you the stereo out on the back into a preamp or do you run it s/pdif??

JDWhite – 07-20-2012, 03:25 PM Edit Reply
Originally Posted by Jahman00
Brandon how do you connect your AXE fx to your daw? do you the stereo out on the back into a preamp or do you run it s/pdif??
Yes, That’s what I want to know.

Can those great tones run straight into a PC? And you have to have a midi interface, right? Which Axe FX do you use, Brandon? I have been thinking about it since you mentioned it, but I need to know that it will work before I jump.

cakewalkgg – 07-20-2012, 05:27 PM Edit Reply
I believe he mentioned he is using the Axe standard. Most ppl are using SPDIF connetion to a soundcard as the standard/ultra do not have a USB interface. It needs a SPDIF soundcard to connect to go into the PC digital.. not a midi interface. Although I think you need a midi interface to use the soft editor with the standard/ultra.

You can find all these answers on their site. Fractal Audio Systems – Axe-Fx II Guitar Processor, Preamp, Effects Processor – MFC-101 MIDI Foot Controller

DC Vision – 07-22-2012, 08:22 PM Edit Reply
Well, before I get started, I would like to note that , “eDrums are all about the triggers, baby”! I have had the misfortune of buying into the eDrum craze, only to find out that my corner cutting idea of an Alesis DM-10 with the mesh-head conversion turned out to be a $1500 joke! I hate the sorry triggering that the toms have. And, I’ve tried everything short of gutting all 4 of them and building a decent set of toms myself!! Now, the snare is really good. I’m sure it’s not quite what the Roland boys can do, but it’s very usable. If only I had 4 more of those, my life would be complete. So, anybody with input that doesn’t relate to buying a Roland kit, PLEASE enlighten me! As far as direct recording…..I LOVE everything about it. My amp has been collecting dust for the last 3 years while I use PodFarm 2, Peavey ReValver, Guitar Rig 5 and Amplitube constantly. The sounds I’ve been able to get are really good sometimes. Sometimes I tend to obsess on the INDIVIDUAL track vs. the overall multi-guitar sound when trying to get the “WALL-of-SOUND” we all want. As far as the AxeFX, I would love to try one. I have been a Line 6 guy for over 12 years. And, for versatility and function, only recently have I seen other stuff compare or sound better. I’m not a purist either, although I’ve had some nice vintage stuff. But, the Vetta, IF SOMEONE TAKES THE TIME TO PROGRAM IT!, can sound really convincing with the right axe. Anyway, gotta run, please share some insight on fixing these blasted DM-10 toms befor\e I toss ‘em in the freakin’ dumpster!

lolzgreg – 07-29-2012, 07:21 PM Edit Reply
I’ve still never be convinced by a guitar tone that was a modeler on a major recording unless it was something done by Joey Sturgis. He has really got Pod Farm down to a science, but real amps are a must for me

Brandon Drury

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Brandon Drury quit counting at 1,200 recorded songs in his busy home recording studio. He is the creator of RecordingReview.com and is the author of the Killer Home Recording series.
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