Recording in the home studio is done more and more these days. The electric guitar is well suited to being captured within the restrictions of this environment. Guitar amplifiers are naturally quite loud, so compared to recording violin, less soundproofing is required, not to mention the possibility of using the vast array of Amp Simulators. With Amp Simulators, a good DI or a hardware amp simulator is all you need!

So all you have in your home studio beside your instruments and amp is an MBOX, a few microphone leads, a dynamic and condenser microphone, computer, monitors and a stand! Not much, but more than enough to capture a great guitar recording. As two inputs are enough in most cases, some interesting techniques can help you get the sound you’ve always wanted.

One of the first things to do is make sure you have a great sounding instrument that is properly setup, has relatively new strings and of course, is in tune. An out of tune guitar is one of the remaining things that you can’t “Fix” in pro tools!

A good amplifier which suits the music and sound you’re after and of course, a good guitar lead. You wouldn’t believe the differences one lead to another can make! I’ve always thought of this as ‘gobbledygook’, but believe me, there are definitely differences!

If you don’t have a vast array of microphones to choose from, try each different microphone in your collection to see which one you like best. As always, trust your ears and go with the one that sounds best to you. It may not be the ‘Typical’ microphone for the job, but it may be the best choice depending on the sound you’re after.

There are many different schools of thought when it comes to recording guitar amplifiers, none of which is the quintessential method, nor any wrong. Some people like to place two different sounding microphones up close, one Shure SM57 close, a 57′ up close and a condenser in omnimode somewhere within the room capturing the natural reflections, a ribbon microphone is also often used.

I have come to the conclusion that there is no “Best Method,”; experimentation is the key. A useful way of determining how the microphone sounds when in record is to send the audio back to a pair of noise-reducing headphones(In-Ear Monitors are best) whilst moving the microphone around the amplifier and the room, listening to the varying sounds that are produced.

You will need to have another guitar player playing or simply use a loop pedal to feed guitar signals into your amp. You will be amazed by the differences. Also as the guitar is loud, it’s a good idea to place the amplifier in a different room to your control room as you will be able to hear how it sounds through the monitors as well as your headphones.

There are two, prevalent microphone positions for recording guitar amplifiers. One is “On Axis” and the other is “Off Axis”. Off Axis is when the microphone is aimed at an angle to the speaker cone and On Axis is when the microphone is pointed towards the speaker cone.

On Axis will give you a more upfront and fuller sound, where off axis the soundwaves hit the microphone capsule on an angle giving it a thinner sound. On axis also gives the best rejection from outside noises and other instruments. This is useful when doing live recordings or when sound proofing isn’t accessible.

Some people like to record guitar amps really loud to get “That sound”, whilst others prefer to record a lower levels. I believe this greatly depends on the amplifier given; a 1watt amp will distort at lower levels than a 100watt amp. At the end of the day, it’s what sounds best to you and how you play. All of the above are simply guides to your endless world of experimentation recording guitar amplifiers. Good luck!

About the Author: Want your Recording to sound professional? Find all of the best Cheap Recording Studios Melbourne Secrets here. Get the best sounds, tips and advice at Recording Studios Melbourne.

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The biggest problem with many amateur guitarists is poor tone, and that’s the first thing you might want to correct before you start placing a microphone for recording. Get down and listen to your amp and guitar combination on microphone level – that is where the microphone would be placed when recording.

Adjust your tone so that you’re happy with it, but remember one thing: the low-end will be increased with a microphone placed close to the source, which is known as proximity effect.

Like any other piece of kit, the same microphone can give tremendously different results depending on how it is used. To get the sound you are looking for takes a bit of expertise and a lot of experimenting. Even the best microphones available can sound “boomy” and unusable if not used correctly.

So, is microphone placement an art or a science? Well, it’s a little of both, but often just a matter of experimenting until you hear something you like.

To begin with, get a flashlight and press it against the cloth on your amplifier. This is to locate the centre of your speaker cone, once you’ve located the centre, mark it with a pen or some chalk. Next mark the edge of the speaker.

Take your microphone and stand it perpendicular to your amplifier at a 90-degree angle and point it at the centre mark you made earlier, this is known as on axis. Do some recording and listen to the sound files. You’ll find that the sound is aggressive, treble filled, and maybe a little harsh.

Now move the microphone to the second, outer mark you made. Again, record some tracks and listen to the results. You’ll notice that the sound is a lot mellower than the first with less high end, however can sound a little dull or muddy.

The next step is to do a third recording with the microphone boom moved in on an angle between the points you made, this is known as off-axis. This sound is a mixture of the two, not as aggressive as the first however not as dull as the second. Re-listen to the recordings and see what you like.

From here it is really all about experimenting until something grabs you, use on and off axis positions, use different parts of the speaker. It’s important to get the initial sound as you like, as it’s something less to worry about later with an eq, as sometimes you may not be able to fix it.

You might also try using two microphones on your amp – one close up and one farther back and mix and match the two. You also need to remember, when running your amp in a recording situation, recording it at the highest volume possible while still achieving your desired tone is really recommended.

But, how can you really blast your amp without annoying the neighbours? Well that’s where something called an isolation box comes in useful. Take a look at my article on Isolation Boxes.

About the Author: Richard Marples has over 10 years experience of playing and recording guitar, and also hosts a website exaplaining how you can record at home. If you enjoyed this article on Home Recording then you can get more free tips at UncleSlinky.co.uk

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Join us as we take a look into several different methods of how to improve your guitar tone during a live performance. You can also learn the benefits of using guitar backing tracks to help perfect your skills in practice and for help developing tone live.

One of the key aspects of putting on a great live performance is having a great sounding guitar tone that cuts through the mix. There are a lot of different ways that you can improve your guitar tone during a live performance to help you achieve a professional sounding tone that will leave your audience’s ears pleased.

One of the ways you can improve your tone during a live performance is to cut back on the distortion. Too much distortion can make your notes sound thinner and cause a lot of buzzing that will take away from the rest of your performance.

It’s recommended that if you need a little extra crunch on your guitar that you use an effects pedal rather than the amp settings. Do not cut all the mids out in your settings. Try not to go for the modern “Scooped” mid sound in Mesa Boogie ampilfiers unless you really require that tone. Marshalls are great for their strong midrange and that is the reason why they record so well and are great live amps. Mid range is what makes your tone sound BIG!

Do also ensure that the drums are not over powering and the microphones are properly placed. The noise from the drum will drown the volume of the guitarists if the microphones are not placed strategically in the setup.

Another great tip for improving guitar tone in your live performances is to use a tube amplifier. These provide a warm sounding tone and can really help to bring out the sweetness of your guitar sound. You will also need a great deal of wattage on the speakers too if you have playing in a large hall. Those small amps will not cut it.

The best way to improve your guitar tone when playing live is to remember that great tone lies in your fingertips. Developing good tone means you have to develop your techniques and skills. The best guitarist in the world could play through the worst equipment around and still make it sound good, because of his playing abilities. If you gave an amateur the best equipment and guitars money could buy, they would still sound like an amateur.

One of the best ways to perfect your techniques and skills is to practice and perform live with guitar backing tracks. Guitar backing tracks can be very beneficial for learning good improvisation techniques. Playing with backing tracks for guitar can help you to be prepared for playing live and help you to develop the natural tone from your own playing style.

These backing tracks for guitarists can also be used to get better guitar tone by using them to play your live shows. Using guitar backing tracks for live shows are like being backed by a professional sounding band, which can help you to find a great quality tone.

Guitar backing tracks are professionally recorded by seasoned musicians and can help you develop your ear along with your skills.

About Eugene Walker: Want over 1000 Guitar Backing Tracks Visit Planet of Rock to improve your lead guitar playing and jam to professional live bands! Eugene is the founder of Planet of Rock Music Studios. He is a professional guitar teacher and has contributed to publications as Guitar Player and Maximum Guitar. Published At: Isnare Free Articles Directory