AEA R92 and SM57 .... pre-mix or separate tracks?

First off I only use two mics if one isn’t doing it.
If I use two, I blend em and make it one track.
Commit.
Recording and making a record is about making decisions as you go and collecting the commitments of said process.

I generally go two mics per cab per take as well. I'll determine a blend later. Lately I've been using an M160 and an SM57.

Sometimes I use a 421 and a BLUE Dragonfly.

K . . . Just the goods.

soundcloud.com/user-391297626/sets/microphone-capture-on-heavy-guitars?si=2dbaf18c95a3481c8589d4f4c94c9148

Two mics, two tracks. You can shift the tonality/EQ of your sound just from changing levels - or change between verse/chorus, etc. No need to commit. Don't compare yourself to Tim Pierce - what he does works for him but he's a session player and knows exactly the sound he needs.

Also as long as you're getting the right gain levels from the preamps, nothing to be gained going through the Mackie. you can always combine the takes in Cubase later.

LABEL everything - GTR Tk1 57, GTR Tk1 92 - etc. That way it's a lot easier to figure out all the tracks. Use that comments section below for more notes.

That is my method but it’s for a reason.
It comes from making records on tape for years and learning to
Commit as you go. Which has turned into
a philosophical strategy in making a record.
Making sounds, committing sounds, reacting to those sounds, making
Other sounds that work around those commitments..
I can’t tell you how many records I’ve mixed where
There are two or three mics on everything with really no purpose other then options.
And one of the mics is out of phase.
You don’t need options if you make informed decisions as you go.
But also Ward, I respect you having a different method.
I’m trying to address doing this just because with no method or strategy.

Wait a second . . . why should I be happy?

I can tell, that's enough for me :-)

I found a Radial Mix 2:1 Passive mixer that's of a high enough quality for my purposes.

Though at this is stage the vote is swinging me towards recording separate tracks, at least until I've built up enough experience to commit as I record.

It's very interesting to hear everyone's different approaches.

One things for sure a cab with mics on it sounds way, way better to my ears than an Ox Box or using IR's - especially when you're opening things up a bit and getting the amp and speaker really working
then the tone is very exciting and has real energy.






 

I'm signed up to the Tim Pierce Master course (I've worked professionally as a pianist and drummer the last 40 years!) and so though I've played guitars
and basses for 30 odd years it's not my first instrument - though I play musically I like to think :-)

Tim is just amazing the way he builds up guitar parts and that's what I've got into in a big way - LRC guitar arrangements - it sound really big and exciting!

So having watched some more of the Master Class course I can see advantages to pre-mixing the guitar sound and committing to it at the tracking stage
as it makes for a great workflow and a smaller track count in the DAW environment.

He's just so darn confident as he works on a song - that's where I'd like to get to.

Like everything, “it depends”. I personally rarely use multiple microphones on an amp, but I were to I’d buss them together. The only exception is if it’s an actual stereo amplifier with tremolo or vibrato or chorus that’s moves between speakers (which is rare) because then I’d actual pan the two microphones apart from one another.

If it’s a song where there’s going to be lots of guitar parts that come and go (say, a clean rhythm, tremolo guitar holding out chords, fills in the second verse, a guitar solo, double distorted chorus guitars, on and on) double tracks on all that shit adds up and get tedious.

And when I’m sent something to mix with multiple microphones 98% of the time I just listen for the one that sounds the best and delete the others.

I think bussing them together once you have a blend you like is the way to go. I mean, that’s the blend where you initially went “this sounds good” so might as well trust your instincts and commit to it.

I like using one mic for mono sources. If you have to use two, I agree with the commit to it sentiments here. I used to do the ribbon/dynamic thing, but besides the occasional phase issues from setting up too fast and not getting it right, the amount of tracks I had to deal with when stacking guitars was a pain. If a ribbon is too dark, use a booster pedal into the amp to brighten it up. Just get the sounds you want up front and be done with it. I don't like making those decisions during mixing. I'd rather just react to the music and balance it all out, rather decide on which mic or blend is the one worth using. It takes my head out of the game. YMMV

There's no better way to gain experience and know what you want than making mistakes up front.  I say commit.  After mixing others projects with 100+ guitar tracks - a couple dozen or three dozen overlapping parts with 3 mics each and a half dozen alternated playlists, I have hated the overwhelming drag that options "give".  You can DOUBLE the hundred + when the guitarist insists on recording stereo, with DI's and using 2 amps - both with 2-3 mics.  It completely kills creativity, and bogs down the process.  The first thing I do if mixing that kinda insanity is nuke as much of it as I can.  Blend and bounce the rest.

Much of the unique and creative stuff that we love in old recordings comes from HAVING to commit.

Personally, when I make a mistake - I use it to push me a new direction that I wouldn't have naturally taken.  Often works out great.  Occasionally makes me re-do something.

I'm with Rob robschnapf here.  Making records is about commitment, and driving creativity in positive directions.  Not sorting thru hundreds of guitar tracks and balancing them.

I do Wards way too sometimes when I'm working with a player I don't know, or on a project that is not "mine" - but when given the chance, I tend to commit.  Works with keyboards too.  And drums.  And most other stuff.

If you want to see the creativity passion that committing can give - check out the Beato video on Queens Bohemian Rhapsody.  I can guarantee that much of the "magic" would have been lost if they were using a DAW and had been committed to keeping all options open.