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Recording guitar and bass from the control room.

Wed, 30 December

This technique has its advantages.

Firstly, the musician and the sound engineer can hear the instrument through the studio monitors which allows to adjust equalization directly using the guitar/bass amp controls.

Secondly, it allows to diversify the sound with minimal commutation. The switch between instruments/amps/cabs/pre-amps/mics takes only about 10 seconds. It’s easier to seek and create the sound you need, and instruments acquire a richer palette and deeper shade, the music becomes more interesting with this subtle nuance.

Thirdly, this technique suits best for projects with multi-tasking musicians who play many instruments for the record.

Effects can be created in various ways.

For example, the instrument’s dry sound and its digital delay are isolated and miked in different rooms.

And finally, it’s the most common practice for creative and quality and re-amping.

In our control room, the guitar amplifier and mic pre-amp racks are positioned right next to each other which makes the adjustment process very smooth and convenient.

The patch panels in the tune hall and control room are pictured below.

There are guitar and bass cabs with speakers of various diameter in the tune hall.

Through the patch panel, any cab can be commutated with any amp and then chained to any pre-amp and mic.

It’s also rather comfortable to record two-octave scale for bass guitar with our two channel vintage Ampeg. 15’’ speaker is used for the low channel and 10’’ speaker for the high channel. It takes a few seconds to switch the channels between the 15’’ and 10’’ speakers.


Miking of the guitar and bass cabs in the tune hall



Miking of the guitar and bass cabs in the tune hall


Miking of the double speaker cab with different mics


Patch panel in the tune hall


Patch panel in the control room


Guitar amp and mic pre-amp racks next to each other

 
© 2008 Spivaki records