Yeah, yeah... track in a different room.

To Cam: what Dan said. Neither of those all up in the grille should be giving you much of anything else at all. And they're end-address dynamics, so it's not like you can really be placing 'em wrong without making serious effort! That is a damn lively room from what I can tell though! Try it in the storeroom, I guess. Also, if you really want to go nuts, take the grille off the cab and move the mic even closer.

Unrelated:

El84 or 6v6?


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Will take the provided info into account and try to fix whatever the balls is going on, gents. I feel like the mics are in phase? And I have def thought about taking that grille clothe off. I feel like the tones I am getting are GREAT, they're super thick and heavy. It's just that.. They're sort of out of focus and too reverby? I don't know, it is just odd. I have messed around with all different kinds of cables and whatnot. Used two different PR40s. Used a goddamn i5 in conjunction with a Beta 57 right up against the grille cloth. The i5 is a hypercardioid IIRC, and it is still fairly spacious sounding.

So, I dunno. I am just gonna have to try tracking in that other room and see what happens.

There are pretty much two things that make sense: one, there's something else being sent to that channel, or two, it's just that room and there's nothing you can do about it- in fact, turning stuff up louder will actually make it worse. Either there's an open mic out in the room that's being routed in, or it's just not where you want your speaker cabs for any semblance of dry without baffling them off. I've heard some pretty retarded sounding rooms in my day that are just Reverb Hell- even though apparently awesome at first- where you can't make sense of someone talking ten feet away from the Epic Goddamn Verb. And I've only ever tried recording in one of them, and that was just a 2-track board feed from a rehearsal. So it's totally possible. Granted these are very, very big rooms (like, 50 x 100 x 20 big), where all surfaces were hardwood, plaster or concrete with nothing at all to break up the sound.

I guess just try baffling the mics off and seeing what happens. It's also partly the curse of the one-room studio, if you're running into issues on playback you weren't having while recording. Your ability to get good sounds isn't in question by anyone, but it's running headlong into being able to accurately monitor what, exactly, you're recording.

Yarr, i didn't even note which mics you said you were using in my first response.

I think that Dan has the right angle. IME, a close mic should more or less be what it is, unless you have some sort of send or open monitor that is acting as a delay/echo/reverb for that close mic.

Personally, i have recorded full bands in giant rooms a few times now, and as far as the guitar and bass sounds go, have had no problems getting dry close sounds with pretty basic cardioid dynamics. In fact, just the opposite, where i have HAD to go with dry close sounds rather than deal with the bleed of other instruments and reverberation. I have generally been surprised actually, by just how little "room" exists in those mics, considering the spaces they were in at the time.

One thing i will note though, is that i have rarely, if ever had good results running two mics at the same time for a guitar sound. Personally, i have had much better results tracking a guitar twice, with two different mics. Or rather, if tracked with two, only using the signal from one of the mics i tracked, in the mix. More mics, does not at all mean a bigger or more interesting guitar sound. Additionally, some mics will simply not play nicely with others, frequency range scoop/boost-wise.

Also, reflections could be what would cause a phase issue here i think. Basically, a certain frequency hitting some surface in the room, and being bounced back into the capsule at or near opposite phase. Might just fuck up one very specific aspect of the frequency spectrum. But it can do a pretty good job of that. You can also get a bit of a slapback feel from it. Personally, i have found this more when recording in smaller concrete rooms like my basement though. I haven't run into it in bigger, more lively rooms.

Additionally, if you are putting different mics on different speakers in a cab, make absolute sure that the speakers in the cab are all wired in phase with each other. Use the 9v battery trick if you have suspicions.

African Tigerfish Catch Swallows In Flight.

Because Fuck:

And just look at how fucking pleased that damn fish looks about it.

African Tigerfish have a decay time of over 2.5 seconds, with strong early reflections that can cause severe comb filtering and phase anomalies. Recording with African Tigerfish, especially tracking live ensembles in one room, is not recommended.

Actually, i HIGHLY RECOMMEND tracking with african tigerfish.

A lack of impressively sharp teeth, as a matter of fact, is more or less, what i consider to be wrong with the current state of modern musicks.

Also, perhaps modern musicians have too many fingers.

If it was good enough for Django Reinhardt, it's good enough for you.



There are plenty of otherwise perfectly fine animal species to which these could be retrofitted? The giant anteater, for one, has a pretty impressive set of claws but is devoid of teeth. Tortoises, while quite sturdy, are seriously lacking in the dental department. The list goes on...

Awesome inventions:

Thank you, TapeOp, for this one:

Sweet Mother of Belt... what does that go to? I am far too lazy to reference it meself

I don't know. Someone said "Manowar drum fill", which is as good a guess as any.

Getty just says "Sound engineer testing low frequency speaker":

http://www.gettyimages.com/detail/photo ... hy/BA61177

For some reason, i feel like i used to have more information in my skull about that one and have forgotten it.

I wonder if it was on Shorpy or something.

How is there no audio attached to that article?