Guitar Amp Mic Technique 2

Part 3 of 3. I set up the guitar amp to play back a 30 second clip of previously recorded guitar (recorded DI and dry). I then experimented with different microphones and positions to try and find interesting and unique ways of capturing the sound. This video is a handful of my favourite 'alternative' mic techniques which may hopefully serve as food for thought whenever you are next recording electric guitars. Amp used: Morrel custom built amplifier, based on an early Fender model. High gain with a dash of spring reverb. Locations: 1: MD735 shoved into the back of the amp cabinet, right up behind the driver. 2: Miccing the amp backwards, by using normal close mic techniques with an AT4050, only behind the driver. 3: Placing a MD735 right up against the side of the amp cabinet. 4: Putting a mic (B2 pro) down the back of a sofa on entirely the opposite side of the room, set to omni pick up pattern. Very unpredictable results, very interesting sound. 5: Placing a Fig 8 mic (RB100) on the opposite end of the room, very near to the back wall, to pick up a blend of direct sound and reflections. 6: Placing an AT4050 just below the cieling along one of the side walls in cardioid pattern, so it only picks up reflections of this side wall. Microphones used: Audio Technica AT4050 - Large diaphragm condenser microphone. Behringer B2 Pro - Budget large diaphragm condenser microphone. Sennheiser MD-735 - Dynamic microphone primarily for stage use. Further recording info: All mics ...

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NO COPYRIGHT INTENDED: THIS VIDEO IS FOR LEARNING PURPOSES ONLY! NO MONEY SHALL BE MADE WITH THIS VIDEO! Includes models of extremely rare and collectible vintage stomp boxes, amp heads and cabinets such as Marshall® 1959 JTM100™ Super Lead, Fender® Bassman®, Fender® Dual-Showman®, Fender® Twin Reverb®, Roger Mayer™ Axis fuzz, Mosrite™ Fuzzrite®, Arbiter® Fuzz Face®, Roger Mayer™ Octavia, and more A legendary sound that has marked the evolution of modern rock guitar and has influenced some of the greatest guitarists of our time 5 separate modules: tuner, configurable Stomp pedal board, Amp head, Cabinet + Mic, and Rack Effects 9 Stomp effects 4 Amp models 7 cabinet and 5 microphone models 4 post-amp FX Racks 2 fully configurable rigs Digital tuner Stand-alone and VST/AU/RTAS plug-in for all popular DAWs Includes SpeedTrainer™ for playing along with your favorite recordings Includes AmpliTube X-GEAR for seamless integration with all the other "Powered by AmpliTube" products, MIDI control and StompIO integration Powered by AmpliTube® with exclusive DSM™ (Dynamic Saturation Modeling) technology for award-winning sound & realistic feel Release Name: IK.Multimedia.Amplitube.Jimi.Hendrix.v1.0.3.VST.RTAS.Incl.KeyGen-DYNAMiCS Size: 53.04 MB IF YOU WANT THIS DO THIS FOLLOWING 1)--- SUBSCRIBE TO ME AND ADD ME AS A FRIEND (IF U DID NOT ALREADY DO SO!!!) THEN..... 2) ---GO TO UR CHANNEL,..THEN HIT "MODULE", CHECK THE BOX WHERE IT SAYS "OTHER CHANNEL". THEN SAVE IT.. ...THEN GO TO THE ...

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Guitar Tube Amps - 6L6 Vs EL84

When it comes to guitar amps, there are a million choices. There are combos, practice amps, stacks, half stacks, separate heads, separate cabinets, modeling amps, acoustic amps, low wattage, high output, 1-12, 2-12's, 4-10's, 1-15, 10 watt, 30 watt, 40 watt, 100 watt....and the list goes on!

But beyond all that, the first really important choice to make is whether to go with a solid state amp, or a tube amp.

There are advantages and disadvantages to both - and that discussion is for another day. But if you decide to go with a tube amp, you will want to be aware of the differences between the two predominant tube types that are available.

Within every tube amp there are typically two tube classifications - pre-amp tubes, and power amp tubes.

Pre-amp Tubes:

These are the smaller tubes and there can be anywhere from 2 to 4 or more of them. These tubes power the "pre" section of the amp and are responsible for producing the boost or distortion, and adding "warmth" to the tone.

Power Amp Tubes:

These larger tubes carry the load of the amp and are responsible for the main output signal.

Today we are looking at the differences in the two main types of "power amp" tubes, 6L6's and EL84's.

There are significant differences in the sound produced by power amp tubes labeled "6L6" and "EL84" - and when shopping for a guitar amp you will want to consider these carefully according to the style of music you are playing.

6L6 Tubes

If you are playing blues, country, southern rock and some rock music - 6L6's may be your best choice. They produce a cleaner, warm "vintage" tone that is suitable for these styles of music. These tubes are closely associated with the "Fender" sound and are stock tubes on most of these amps.

EL84 Tubes

These will produce a boosted mid range tone and have a history of "breaking up" earlier for a distinct distortion sound. They are preferred by many guitarists that lean toward a heavier rock or metal style. EL84's are closely associated with the "Marshall" sound and are stock tubes on most of these amps.

One or the Other

In most cases, a guitar amp is built to accept either 6L6's - or EL84's, and you will need to be aware of which, and the nuances of each before making a decision.

There are, however, some boutique amps, such as some of the Mesa Boogie models, that come with both. These come with a switch that allows you to change between the two, and opens up a whole new range of tonal possibilities. Of course, you'll also have to open up your wallet because they don't come cheap.

Forget the Rules

Even though we have discussed the two power amp tube types according to the style of music that they are most suited for, ultimately every guitarist is unique in their approach to playing. As a result, like most anything relating to the art of interpreting music, there are absolutely no rules.

I have known blues and southern rock players that got killer tones out of Marshall amps with EL84's. And, conversely, there have been plenty of players using Fenders loaded with 6L6's playing hard rock and heavy metal.

The point is, a serious tube amp can be a pricey investment, and the key is to be aware of the power amp tube differences going into it so you can make an informed decision based on what works best for you!

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The Last Word in DJ Tech - The USB Turntable

DJ'ing, like everything else in this world, has been made better through progress. So much so that an old school DJ, someone who just knew records, record decks and a mixer, would struggle even to work out what half the kit used by a modern DJ is, let alone what it does or how to use it. So what, one wonders, would the old school have made of the USB turntable?
What, for that matter, do we? What is a Universal Serial Bus turntable and why would anyone want one? Two reasons, actually - one, to get all that lovely vinyl immortalised on CD; and two, to add a bunch of computer snap to a vinyl set. Let's take our points in order, first stopping to describe what the Universal Serial Bus turntable actually does.

The USB (that stands for Universal Serial Bus, which is a posh way of saying "that bit on the side of the computer that you can plug stuff into") turntable is a normal vinyl playing turntable that plugs into a USB port on a computer. The USB turntable sends the signals coming down the turntable arm and wire into the PC or laptop, in the same way that a regular turntable sends signals to a mixer. The computer effectively becomes the mixer, which means, as noted, two things - one, you can transfer all that vinyl into audio files and burn them to CDs; and two, that you can use programmes on the computer to mix and affect the music playing from the vinyl.

So: if one plugged a USB turntable into a computer, and then plugged that computer into a PA system, one would be able to use all sorts of flashy digital effects and programming to enhance one's set. These days, DJ programmes can do just about anything - from correcting slight mismatches in beats to full on scratching and juggling. Plus, of course, the entire effects one has access to - simple sound washes, sine waves, and the other lot. Take one or even a pair of Universal Serial Bus turntables, add a computer with a good DJ programme on it, and one has a full club sound system waiting to happen.

Immortalising vinyl on CD via a USB turntable is actually a pretty good idea. Even if one wishes to keep one's vinyl pristine and not get rid of it, having it all in the computer rather than in seventeen metal cases makes travelling to do DJ shows a lot easier. Why waste petrol, space and time carting all those records around when one can simply throw a laptop and a PA in the back of the car and get going?

There will of course be some vinyl junkies who disagree. The point holds even for them, though. At this end of the scale, the USB turntable can become a brilliant way to teach the art of DJ'ing without having to endanger those precious records. One simply records the vinyl via the USB link, practices with the files and the turntable (minus record) - and switches back to records when one feels confident enough.

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