dylanger wrote:macrae11 wrote: I just mention it because I know in several of John's later albums they employed "distant" micing, sometime even capturing multiple cabs with one mic.
He does this a lot on his last album. Have a listen to this @ 1:11
http://www.youtube.com/watch?v=qNCmVhvWmYU
It sounds like the main rhythm track is capturing the room too.
Yeah it's more the main rhythm track that I'm referring to. The solo is obviously using the room as an effect, but the rhythm tracks just have a bit of space around them. I suppose it could be artificial reverb, but it just sounds like the room to me.
dylanger wrote:macrae11 wrote:
As far as pedals it so depends. Depends on what I have available for amps, how much grit I'm looking for, how much compression I want etc. Sometimes pedals, sometimes amp, sometimes both.
Do you prefer running a compression pedal? When working with Aaron her has that nice diamond compressor. Thats also I purchase I want to make in the next little while.
Again it just depends. I really love the sound of the Diamond, in fact it's one of only a handful of pedal compressors that I actually like to use for something other than a "Holy shit this is so compressed!" effect. That being said when tracking with Aaron I probably have him disengage it 50% of the time. The other half is probably 45% with just some gentle squeeze to control some attack and 5% going for that Boss CS-1 compressor sustainer sound. Although sometimes I'll use it as a tone shaper with the EQ knob or as a gain stage without actually compressing.
dylanger wrote:macrae11 wrote: I have a tendency to use many subtle delays particularly on arpeggiated, lead, or single line parts. Like 4-5 different delays is not at all uncommon for me.
I hear this a lot and I like it, I just bought an electro harmonics memory toy, haven't really nailed a nice setting down but still working on it.
Like I mentioned it would be different for every song. It would be tricky to do the tempo delays I was referring to above without at least a tap tempo.
Speaking of compression, I'm not crazy about the compression on the guitar in your mix. I don't know if it's directly on the guitar or mix bus, or if it's something SoundCloud's doing, but I don't think it's helping. Perhaps you just need to tweak the settings, or maybe you need no compression, or maybe scads more of it. Don't know.
I get Matt's point about it being performance based, and there's some truth to that. How and where you play notes will certainly affect the tone, I kind of think the tone you've chosen might not be quite right for the song, and that's affecting your choice of notes. Also contextually the way the mix is, the guitars don't sit well at all. The vocals and drums have a ton of reverb while the guitars are basically bone dry and in your face. Maybe try experimenting with some temporal FX, whether just from some distance micing, or after the fact. It might take your playing in a different direction.
Perhaps experimenting some with tones that you would never think to use in this situation might open some new pathways. Sometimes a science experiment is the best thing to get you straightened out even if after a long journey you end up fairly close to where you started out.