Signal Chain Quiz
Can you pick out the $5,000 signal path verse the $100 signal path?
This is a fun little test to see if you prefer my expensive gear over my cheap gear (specifically, we are dealing with electric guitar sounds once again). I've tossed up several combinations of microphones and preamps in front of a little guitar rig and I want to see what you think sounds best.
I want to know how much money I've wasted, if any, on high end gear. If you like the sound of the cheap stuff better, you'll get to see a running total of all the cash I wasted. If you like the most expensive recording setups, I guess I didn't waste any money.
The Point:
My biggest goal is to draw awareness to the possible benefits of using high end gear for those who have the cash to pump into such a ridiculous craft. One of the signal chains in this "shootout" is $4950, for example. The other side of the coin is to show that can be done with the a typical signal chain found in any "regular" home studio setup these days.
I've made an emphasis on price. While I expect this to be controversial to some, I think it will be eye opening for others.
I generally took the perspective as this is what your recording would turn out like if I was recording you (more or less). How much more are you willing to pay me to use my Vintech 1272 that just my Presonus? This is the name of the game for me and it's the issue that few of the gear obsessed really want to discuss.
Drums:
I was going for kind of a CCR / John Bohnam thing with a cymbal basher at the helm so didn't give me any crap because this doesn't sound like the Slipknot drum sound. Of course, the damn thing turned out quite a bit more aggressive than any CCR I've ever heard. I blew my Celestian G12H30 and decided to make this more of an old school thing. The drums were programmed and ran into DFH Superior.
Bass:
The bass is part of the Quantum Leap XP Bass Sample Library. It was also programmed.
Guitar:
The guitar was played not-so-well by yours truly. I used my $200 Agile Telecaster and ran it into a Boss OD-1 Overdrive pedal into my Fender Bronco cranked up about as loud as it would go. While I do love the Bronco, I'm anxious to have it modded so that I can use external cabinets. I'm not terrible excited by the speaker inside that amp. It's a bit brittle.
Microphones:
There are two microphones in this test. They are the Shure SM57 and the Royer R121. While everyone has their opinion on this, I consider both of these microphones to be excellent for recording electric guitar.
Possible Signal Chains (after microphone):
Trident S20 > Mytek AD96
Vintech 1272 > Mytek AD96
Stock Presonus Firestudio Preamp > Stock Presonus Firestudio Converter
M-Audio Octane preamp > M-Audio Octane Converter
Vintech 1272 > Mytek AD96 > Distressor EL-8X
* Distressor was used through the external bus in Cubase.
Flaws Of The Test:
Mic placement - The Shure SM57 and Royer R121 sound drastically different when used in the exact same position. The Royer R121 won't have near the top end sizzle that the SM57 will. The Royer has way more meat in the low end, but this is reduced as we back off the source due to the strong proximity effect wtih Figure 8 microphones. So as mic placement changes, the differences between the SM57 and the R121 tend to get smaller.
Compression - On the one track with the Distressor I went with my gut. I ended up knocking quite a bit of dB of the signal and maybe I got a bit aggressive as it really thinned the track out without making it harsh. Maybe that's a good thing.
Levels - It's difficult to decide on levels. What is the reference point? In a normal mix, you slap the guitars at the level they are most effective. When A/Bing sources it's quite a bit more difficult. I generally used the meters for this. You will hear more bite in the tracks with bitier gear.
Performance - The playing is me. The timing is not as tight as it should be but I'm a recording dude. My guitar playing ain't what it used tobe.
