Marshall 2203 REEEEEEEEEEE-work

[lll]

I think you're right. I realize now that by recording too hot of a signal to start with, I was leaving no headroom for the plug-ins I'm using.

-18dB signal in is more than enough headroom. You have 18dB to work with before you hit 0dB (after that, it clips of course).

That's a huge amount of headroom.

[PLX]

I only use busses ("sends") if:

- I've got multiple guitar tracks that need the same effect ("tweak once - affect many tracks" concept... and cuts down on processor load too)
for example, I have two tracks, doubled rhythm part. I want to put Eventide on them both, or maybe an 1176

- I want to blend an effect (Eventide, delay, reverb etc) with the dry tone using the channel fader

- I want to not only blend an effect, but pan it too (Van Halen 1st album)

- I want to keep the dry guitar tone separate from an effect (Van Halen 1st album reverb) so the dry tone doesn't get lost in reverb wash

- In a big project with countless tracks, I want to "conglomeratize" (haha fake word) many tracks (usually similar instruments) to one channel so I can quickly grab the channel fader

I appreciate all the advice. Going through a learning curve with this stuff right now.

I watched some tutorials on LUFS and Reaper DAW this afternoon, and I downloaded the free plug-in the tutorial was demonstrating (YOULEAN Loudness Meter 2) and I managed to figure out how to access the master buss VU meter config and change it to "RMS ONLY".

I'm going to re-record with this new knowledge and see how much this improves my tone in recorded clips.

[lll]

I appreciate all the advice. Going through a learning curve with this stuff right now.

I watched some tutorials on LUFS and Reaper DAW this afternoon, and I downloaded the free plug-in the tutorial was demonstrating (YOULEAN Loudness Meter 2) and I managed to figure out how to access the master buss VU meter config and change it to "RMS ONLY".

I'm going to re-record with this new knowledge and see how much this improves my tone in recorded clips.

Not a prob.

Keep in mind you have the FabFilter suite, which are cutting edge and very powerful plugins.

Q3 (eq) and L2 (limiter) are the two I use most. And there's great tutorials online (youtube).

[PLX]

So, just applying the things you talked about here in this thread, I can hear an immense improvement in getting the recorded tone to more closely resemble what the amp/cab actually sound like in the room

JCM-800
variac @ 70VAC
2 6CA7's (two tubes pulled)
bass, middle, treble on 10
preamp on 6
8Ω tap into 16Ω 4x12 cabinet
SM-57 off axis, on cone 1" away
LUFS set at -14



still got a lot to learn

[lll]

So, just applying the things you talked about here in this thread, I can hear an immense improvement in getting the recorded tone to more closely resemble what the amp/cab actually sound like in the room

JCM-800
variac @ 70VAC
2 6CA7's (two tubes pulled)
bass, middle, treble on 10
preamp on 6
8Ω tap into 16Ω 4x12 cabinet
SM-57 off axis, on cone 1" away
LUFS set at -14



still got a lot to learn

HEEE (He-Man!) MANNN (Woman Haaaaaterrr!)

Good playing there.

I'd say the top end is good. Bright and crunchy without being harsh.

But it needs more balls in the low end (keep in mind, this is not a tone that is featured in a mix, but rather, by itself - if it was in a mix, this current EQing might be all that's needed). Try fiddling with upping around 100-150Hz some, but with a somewhat "skinny" Q (bandwidth) so there's not too much flub. Needs that cab thump, and 125Hz is the generally accept "thump" frequency.

Sometimes, you gotta throw the "rules" (well, more guidelines here) out and if it sounds good, it is good.

[PLX]

I'd say the top end is good. Bright and crunchy without being harsh.

But it needs more balls in the low end (keep in mind, this is not a tone that is featured in a mix, but rather, by itself - if it was in a mix, this current EQing might be all that's needed). Try fiddling with upping around 100-150Hz some, but with a somewhat "skinny" Q (bandwidth) so there's not too much flub. Needs that cab thump, and 125Hz is the generally accept "thump" frequency.

Damn dude, you got good ears

Bumped 150Hz by 7dB and rendered. Listened to the two tracks back-to-back..

That was exactly what that clip needed.

[lll]

I'd say the top end is good. Bright and crunchy without being harsh.

But it needs more balls in the low end (keep in mind, this is not a tone that is featured in a mix, but rather, by itself - if it was in a mix, this current EQing might be all that's needed). Try fiddling with upping around 100-150Hz some, but with a somewhat "skinny" Q (bandwidth) so there's not too much flub. Needs that cab thump, and 125Hz is the generally accept "thump" frequency.

Damn dude, you got good ears

Bumped 150Hz by 7dB and rendered. Listened to the two tracks back-to-back..

That was exactly what that clip needed.

Post it up let's hear it

EDIT - I heard it on your channel; sounds good.

Now, I'm gonna guess at one thing with the mids...

Try dropping around 600-650Hz like around 3dBs; this *should* help tame the slight "honk", if my estimations are correct.

[PLX]

Now, I'm gonna guess at one thing with the mids...

Try dropping around 600-650Hz like around 3dBs; this *should* help tame the slight "honk", if my estimations are correct.

I thought about that, but I'm already using the Pultec MEQ-5 on that track, and using it to DIP 700Hz.

Would I need to do that with another EQ ?

[lll]

Now, I'm gonna guess at one thing with the mids...

Try dropping around 600-650Hz like around 3dBs; this *should* help tame the slight "honk", if my estimations are correct.

I thought about that, but I'm already using the Pultec MEQ-5 on that track, and using it to DIP 700Hz.

Would I need to do that with another EQ ?

Can you dip it more? Try that.

You might want to SM57 straight-on (instead of off-axis) to slightly remove those "honk" mids and also get a skoosh more proximity effect (low end thump).

Generally, mics placed off-axis pull in more midrange... and sometimes not the good midrange (honk honk).

[PLX]

Can you dip it more? Try that.

You might want to SM57 straight-on (instead of off-axis) to slightly remove those "honk" mids and also get a skoosh more proximity effect (low end thump).

Generally, mics placed off-axis pull in more midrange... and sometimes not the good midrange (honk honk).

Dipped 700Hz more.

Moved the 7dB bump from 150Hz to 125Hz.



Definitely got ear fatigue now.

I can no longer hear the difference in these subtle changes.