How are you setting up your mic?

If it's directly infront of the cone/center of the speaker, try moving it to the side a little more, or angling it to make it off axis and actually be flush with the paper of the speaker instead of the cone. In terms of the mixing process, it's generally best to try to have a killer sound before you dress it up with EQ and compression and so on, but I generally take out some of the high end, anywhere from where the EQ starts down to even around 10k, and I find this gets rid of a lot of the high end fizz and makes the guitars sounds much better, but be careful. It all depends on the type of tone you have, as this could be way too much removal with your particular sound, but it's always something you can experiment with. When I first tried the Royer compared to a 57 I thought what's this muddy bass boom shit? Then I discovered that if you put it around 10-15 cm back from the speaker (which reduces the boomy bass) and use the backside of the mic, it makes it quite cool. It's never as "detailed" as a 57 and does not have the same attack, but it has makes the track really fat and somehow natural, which is good for "wall of sound" things and not so good for fast riffing. I did the recording and the guitars are Royer 122 with the Avalon 2022 preamp. Oh and by the way, I know the i5 is the hot new item around these parts, but I have to say that after a lot of testing I still prefer the 57. I do dig the i5, but sometimes the high end on it can be a bit much with certain amps. Just my (probably unpopular) opinion. Metallica's James Hetfield: "Distortion always starts with the amp. Pedals just site on top of the sound. They don't feel like a full part of it, just some fuzz on top. You can fiddle with parametric EQs and all that shit for days, but it still won't have the smooth distortion of an amp. The last time I used a distortion [overdrive] pedal was on Ride the Lightning, and it was hell. It was an Ibanez Tube Screamer like Kirk uses. It really helps his solos cut through, but it puts a shitty coating on smooth rhythm tones, and it was hard to make it not sound like a pedal. You can recognize Marshall distortion in an instant; that's why I shied away from that and went with MESA/Boogies. I basically use the Boogie's distortion with a non-programmable studio-quality Aphex parametric EQ to fine-tune certain frequencies, dipping out some of the midrange. All my speakers are Celestion Vintage 30s." Metallica's Kirk Hammett: "My philosophy has always been a clean amp with a stomp box. I hate the sound of piling distortion on top of distortion. [It sounds like he's criticizing using a mix of preamp and power amp distortion.] I was using a MESA/Boogie preamp, but I've gone back to the ADA MP-1 [the first preamp to combine MIDI and a preamp vacuum tube] with an ADA

programmable EQ through a MESA/Boogie Strategy 400 power amp. For leads, I use a low gain setting on the ADA MP-1, but switch on an Ibanez Tube Screamer. Using the Tube Screamer in conjunction with a tube amp really brings out the tube qualities of the amp. And there's just something about that simple, raw, gritty fuzz box sound. One of the best lead sounds I ever got was when I played an Electro-Harmonix Big Muff through a Montgomery Ward amp with 3" speaker, for a Jeff Beck tone." Also, Metallica is the cover story for Guitar Player Sep 1991, which I have. James: "I use a lot of mics... up to 8. I use them to phase-cancel each other, to control the sound like with an EQ but instead of an EQ. ... for the 1991 album, I'm using MESA/Boogie amps, with ADA MP-1 preamp, but Boogie Simul-class II is the main part of the sound. Cabs: Boogie for clean, cutting stuff, Marshalls with 30 watt Celestion Vintage 30s for warmth." Kirk: "VHT power amp with Bradshaw preamp through Marshall cab for lows. Straight Marshall for highs. I didn't use the Boogie gear I used on Master of Puppets and Justice for All. I also stopped using the ADA preamp. The Bradshaw is my favorite preamp. I use the Bradshaw Patchmate, which lets you switch amps through MIDI. No TS-9 this time. I used an old VOX wah, warmer than Cry Baby [this is one more time: the Cry Baby is the *worst* wah pedal, unanimously, except for the Morley. - Michael] The VOX is mouthier; it talks."

80Hz - Bottom 400Hz - Note 1.5KHz - Body 3.5KHz - Bite 8KHz - Air

* The closer you move the mic to the center of the speaker, the brighter and more present it will sound. Conversely, as you move the mic toward the outside edge, it will sound darker and bassier. * The closer the mic is to the speaker, the more direct and immediate the sound will be. Obviously, this helps with eliminating the sound of the room you are recording in, and if your room is less than ideal, this might be your best option. If youre recording a particularly loud source, theres a chance you may experience what is known as proximity effect with the mic. Basically this is a build-up of low frequencies that you may have compensate for either with EQ or by changing your mic placement. * If you have a cool room with maybe some wood floors, and if there doesnt seem to be a problem with any weird reflections, then distant micing can be a

can be a potential option. I would suggest recording a close-mic track as well just in case you need it. It really depends on the song and what youre going after because distant micing definitely sounds different. * On-axis or off-axis? On-axis basically means pointing the mic directly at the speaker with no angle, so in effect, the mic would be considered to be perpendicular to the front of the cab. This tends to sound brighter. but at the same time there is a greater chance of proximity effect. Off-axis means angling the mic a little to the side. This can make the high end roll off a little and make things sound a little smoother.

adding a clean track

cel mai bine . edge intors si la cativa centimetri departare