YOU TOO can record on a budget!!!!!!

Discussion in 'Recording Studio' started by Joeydego, Apr 22, 2016.

  1. martin H

    martin H Senior Member

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    Ahh its not bad, but you'd have gotten a better sound with a pair of U87s and an Avalon preamp

    At least that's what a particularly annoying friend with an Avalon pre-amp an a U87 used to tell me about everything I did.
     
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  2. jay1williams

    jay1williams Senior Member

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    Outfreakinstanding!!!!
     
  3. Gibson_Ed

    Gibson_Ed Senior Member

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    ^^^This!


    I've always said great sound is 99% artist and 1% audio equipment.


    Nice playing Joey!
     
  4. TP6

    TP6 Senior Member

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    Yeah it's pretty great what you can do now on a budget. My current recording setup is even cheaper (under 250 bucks) and I'm digging the kind of sounds I get.


    This was done on a Focusrite 2i2 (130 bucks) and a Shure SM57 (100 bucks) and I think it sounds pretty decent. Mind you, I'm not the best at recording or playing so I'm sure other people could make a better sound with what I have :laugh2:

    [SC]https://soundcloud.com/guitarbytes/crate-vintage-club-30[/SC]
     
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  5. kmasters68

    kmasters68 Senior Member

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    Not loving the guitar tone but the levels are good. I'd be curious to hear some neck tones with a pushed setting for critical listening. It seems like that spikey guitar tone is easier to grab than a full spectrum signal. Unless it was full spectrum and the mic only grabbed the treble tones.

    Of course, these observations are only based on my subjective taste and old ass ears, so...
     
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  6. jdogric12

    jdogric12 Junior Member

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    Very cool!
    I'm hearing the bass really push on the compressor during the muted notes... I wonder if post-comp EQ would mellow that a bit? Or maybe that's a desired effect for this style... a bit harder than I'm used to. Still like it though, well done!
     
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  7. Playyouraxeon11

    Playyouraxeon11 Banned

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    As usual, I don't know. The stuff about mucho-dollar mics makes sense though but maybe it's not the same recording a room with a symphonic orchestra in it or close mic-ing a stack with a load of filth on the sound (I'm not suggesting this about Mr Joeydego, it's me). Those situations, it doesn't much matter if you play a Knaggs or a Telecaster knock-off so any old mic will do, maybe. I'm obviously lowlife. I've done "proper" recording back in the day and I remember watching a bloke twiddle a knob for half an hour and I couldn't hear any difference. And the constant complaints from engineers that we (particularly me) were playing too loud and with far too much distortion. It's fabulous what we can do today for (really) a bag of chips. I look forward to polluting Youtube and I'll go for quantity rather than quality. It's not going to matter if you can deafen the listener, is it? My idea of conditioning a room for recording is to leave the radio on throughout and I don't know why it matters if someone is making tea in the corner. This is the beauty of it - the record companies and producers with all these stuffy ideas about tidiness etc are all gone, we can record what we like. Like, forget about quality and doing another take or even ending tracks at the same time in the same place. I find that if I make a mistake, the next track will cover it up or I can just go mad on the bass at that bit and no one knows that any of it was unintended. To each their own and for me I'm fed up with sterility, perfection and computer generated drums - I like some drift. But that's me, I'm a dirty boy and loads of people play better than me and record better too. so what? Most people don't know one end from the other anyway but all the "Good guys" can do their masterpieces now because we can afford it. It used to cost zillions to hire a six week stay half way up a mountain in Switzerland in a luxury 48 tracker. Now all you need is a Zoom r 24! More power to Joeydego, don't forget the money and all the best go with you.

    I love my Gibsons, I've never seen a Knaggs. If I want to look further up, I'd probably slobber for a Huber Orca. But I'll always dig my SG, even if it is a plank. It's an Earf*cker! It sounds like 1968 in Hyde Park, London. YAY!!!!! Jimmy Page, EAT YOUR HEART!!!! (In a good way).

    This much I know - Zoom definitely make excellent microphones. And my other Gibsons are a nice J45 and a one of those vos es335 jobs. I haven't yet recorded this guitar, that will take some attention. If I "filth it up", I might as well use my beloved and trusty SG but my 335 is a personal pleasure of a different kind and has proper tones. I can "wring its neck" and I do, but that's a proper instrument for proper music. This is the only guitar I know that is better than me (Oh yeah!). To look further, a Knaggs or a Huber is going to have to be very, very good. Then again, no Les Paul, no Marshall. I wouldn't shed tears to use that stuff (that's for sure) but I use a Vox blue cone job, early sixties, mostly. I like a "poppier" sound. And I'm a slag.
     
  8. rockstar232007

    rockstar232007 Senior Member

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    My whole recording rig consists of my #1 LP Classic, my Marshall JCM 2000 DSL 401 Super-Lead combo, my laptop, an interface, and a multi-effects pedal (which I don't even use most of the time, because I use Cubase to patch in most, if any effects).

    Total cost: Less than $3K...which is more than most people spend on a single guitar, so I guess one could consider that a "budget rig".:thumb:
     

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