6
There certainly isn't one single reason, and, yes, “that's just how it's always been” is probably an important point.
However, I would quite agree that guitars should not be part of a standard orchestra: for the same reason pianos aren't, and shouldn't be, part of an orchestra.
Orchestral music takes a lot of its attractiveness from the art to ...
6
I wouldn't record using FX unless I was very sure about the end result I wanted and how it would sit in the mix, just to leave my options open since you can't go back and remove the FX. On the other hand, if the FX are an integral part of the performance then it might be a good idea to record after the FX. Sometimes the performer might hit a 'sweet spot'that'...
5
It's more about practicality than of necessity.
Imagine a guitar with one pickup and no volume or tone knobs.
You're right, this would produce slightly less noise (probably less than the noise floor you'd get on any recording - but in theory any component passive component will add some noise).
However, you would probably want control your volume/gain ...
5
I am somewhat reluctant to answer the question, due to the fact that I cannot find any further info (such as manuals) for that Leem LMM-6S mixer. I did found a Leem HM-624 which looks at least somewhat similar, but that didn't allow me to download the manual either.
Without further information, wiring diagrams, and details on the actual PA system, the only ...
4
If you want to do more percussive in your acoustic guitar, I remember that Fishman has developed their onboard-preamp, which I use. It's a preamp that combine undersaddle piezo with built-in mic beneath the preamp. Named "Classica Blend" or "Presys Blend".
Or if you prefer microphone, you can use Eric Clapton style. While playing acoustic guitar with both ...
4
Another consideration: assuming your guitar has at least two sets of pickups, if you didn't have what's essentially a mixer on/in your axe, you'd need to pass more wires to the remote preamp. That not only increases the complexity of the patch cord but increases the risk of crosstalk and interference pickup.
3
Behringer UCG102 is one of the cheapest guitar interfaces for PC/MAC. It costs a little over £20 but not that much. However I'd advise against buying the cheapest interface. If you can't afford anything better at the moment, than I suggest to save some money and then buy the better interface. Otherwise after playing for couple of weeks it may turn out that ...
3
It's generally expected that you do a little bit of research before asking questions here and that you only ask one question. In this case the manual for this device answers the question quite clearly.
The Amp Out provides a 1/4 inch mono output of
guitar processed with amp modeling and effects and optimized for
connecting to the input of a guitar ...
3
I usually find that SM57s accentuate distortion/tinniness when the mic is pointed at the center of the speaker cone. My preferred placement is 45 degrees off-axis, aimed between the outer edge of the cone and the outer edge of the speaker. Tends to give a fuller reflection of the "sound in the room"... I'm not sure that this would totally mitigate your ...
3
Vocal isolation/eliminations plugins generally work on the principle that lead vocals are centered and are going to have a particular EQ range. Guitars don't really have any such standards.
Your best bet is to just run it through a parametric EQ and fiddle with it until you find the frequency bands that only have the guitar sounds in it. However, a guitar ...
3
It depends on what features the 1/4 inch supports, but at best it would tie the XLR. Most likely, the XLR is the better option. XLR cables are balanced, which greatly reduces the amount of noise they pick up. 1/4 inch cables can support a TRS mode that uses a balanced signal, but often (most of the time) for guitar cables, they do not.
It is possible in ...
3
Assuming you don't have some kind of Franken-cable running from ¼" jack to male XLR, then you'd have to go via a DI [Direct Injection] box, if only because the plugs won't fit otherwise.
If you do have a Franken-cable, throw it away.
Impedance mis-match, wrong signal voltage levels & the potential to return 48v back to the guitar are 3 of the best ...
3
In addition to @frcake's excellent answer, I have a few points:
I have been gigging for over 30 years and I still have trouble getting some sounds I want. One solution that most guitarists go for is to have many guitars. All of mine sound slightly different, sustain, wood tone, pickups, bridge, electrics, resonance etc. Some have higher action or greater ...
2
A microphone is definitely the best solution, sound-wise. And indeed almost certainly cheaper than anything built-in, if it is supposed to sound anywhere as decent. You don't necessarily need a large-diaphragm mic, though it should be a condenser. Small-diaphragm ones are available for as little as 50$ these days; you may want to spend a little more (e.g AKG ...
2
I might have an actual answer this time. Be sure you are doing a "Save As" a preset (not a patch) after assigning the program change number to your preset. This seems to have been the last piece I was missing in my setup for changing Amplitube presets within Ableton by sending MIDI program changes from the SoftStep pedal.
As I mentioned before, you will ...
2
Fender Stratocaster (or other twangy sounding guitar, anything with a single coil pick up should do), through a compressor, DI into your DAW, then apply light digital delay in post production. You will need to find some one to play the part though.
2
It looks like your Focusrite audio interface only has a single, global +48V phantom power switch. I assume that when this switch is flipped on, the Focusrite will provide +48V to both of the XLR inputs. I don't know if the TRS jacks are wired to provide phantom power, but my guess is that they are due to the combined XLR+1/4" jacks. If they are, and you use ...
2
There's of course plenty of ways to do that. The easiest way on Windows would certainly be to load both a SoundFont synth and an amp-simulator plugin into a DAW, but I suppose that's not the solution you want.
If you'd like to keep it down to a single executable and, as I suspect, you're more interested seeing in how intonation influences distortion-...
2
Unfortunately it is tough to generate a good sounding distorted guitar using only digital means. Although as sampling gets better this is slowly getting better as well.
Your idea of sampling a clean guitar sound and then routing it though a distortion unit and back into your DAW would be the route I would take assuming you cant get your hands on a real ...
2
I'm only guessing the amp out is meant to go to a guitar amp, so it's probably mono and has a level and impedance more like an electric guitar would have. Line 6 got started with guitar effects, so this almost certainly is there to allow you to use your computer and this interface as a virtual effects pedal board.
The optical out is an output from the ...
2
Internal soundcards may give you accurate A/D conversion but get let down by compromises in the audio chip. There can be noise from the surrounding electronics, and the chip itself is optimised, often, to handle a partially amplified domestic capsule mic plugged straight in - so it's neither a proper high-level line-in nor a low noise mic-in.
Going ...
2
I've made this
For about $6 total. It's a simple impedance matcher that allows you to use your own sound card. If you feel like tinkering, you can't really get cheaper than this. The quality is okay-ish, and could certainly be improved by fiddling with the capacitance a bit and adding more shielding.
For anything more serious, I'm using a modelling unit; ...
2
That looks like a piezo-electric transducer, which wouldn't need a battery. Most types of pickup don't use batteries, as far as I can remember.
I can't say why you're not getting any output, though.
2
You should really ask the studio how they want it done. I am doing similar jobs for clients and here is my advice on how you should do it.
As long as your audio interface has a Hi-Z or Instrument input you're good.
Radial, one of the reamping pioneers, does recommend using a DI for tracking though:
Start by recording with the industry standard Radial ...
2
This sound can be achieved with a spring reverb and a short delay (< 100ms). Delay before the reverb.
Along with this western sound in general you often also hear tremolo and chorus effects. Here, though, it is very subtle - if there at all. Try a gentle chorus.
Also (depending on your guitar model): try switching to some of the center pick-up ...
2
Everything about your signal chain sounds correct except for the mixer to the pc. It sounds like you want to use your mixer as an interface, in which case you'd want to use the USB to connect to your pc, not the speaker output.
Once connected, you'll need software on the pc to be able to record. You could go the freeware route and get Audacity, but there ...
2
As a rule of thumb, closer to the center is trebly , closer to the ring is mellower - more bassy.
Electric guitar recording is a world of it's own, many people go to insane extends to hunt the tone they want.
First you have to fix the tone way before the recording stage, for instance in a song as soft as the one you posted, you can't just have an accented ...
1
I have the Fast Track Pro and you can definitely plug right into one of the combo inputs with your unbalanced guitar cable. For the input that you choose, make sure the "Line/Inst" switch is set to "Inst" and then use the gain knob while playing your loudest to bring up the level but don't let it clip. The manual (which is available online also) discusses ...
1
Check to see if all powered devices are grounded within the same circuit. Also, keep cell phones or any other wireless devices away from speakers too.
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