Why you should consider tracking the acoustic sound of your solid-, semi-, or hollowbody axe in addition to the amp it's plugged into.
Hello everyone, and welcome back to the Dojo. This month we are going to do something rarely done and counterintuitive. We are going to mic our electric guitar in addition to the amp! Why? Because there is something to be gained. The Dojo is now open, so let's get started.
I first remember hearing about this technique back in 1989, when I bought the CD Different Trains/Electric Counterpoint, composed by American minimalist Steve Reich and featuring the Kronos Quartet and one of my guitar heroes, Pat Metheny. Pat played all 13 guitar parts called for in Electric Counterpoint with great aplomb, and the result was gorgeous—vertical, pulsating clouds of harmonies weaving into tightly knit, horizontal, rhythmically imitative, melodic fragments that are constantly changing. Can you tell I like this piece? Hopefully you've already started listening to the recording as you're reading this.
Steve Reich: Electric Counterpoint (complete), Pat Metheny
One of the subtle things I noticed was that in addition to Pat's characteristic dark archtop timbre (achieved by rolling back the tone dial on the neck pickup), there was also a clear attack of the note from an additional microphone that was placed near the guitar itself, and not the amp. The result was something quite unique and not really possible without using this technique.
Now, think about this for a moment. When we practice, chances are we're not playing at maximum volume—pissing off the parental units, girlfriends, and neighbors. (There's a time for that, but not all the time.) Most of us will play at room volume or practice volume. Which means, that you are hearing a slight mix of your amp as well as the snap, ping, and buzz of you plucking the guitar that's in your lap. Most of the time, we tune this out and place our focus on our amp volume, but we're missing something here. That little bit of pick attack that happens acoustically is part of our sound, and most of the time isn't captured.
That's the crucial difference of recording an acoustic guitar and an electric. The acoustic will have a microphone or microphones placed around it that are relatively close to your ears and will sound much more natural on playback. Whereas when we dime our 100-watt full stack, we're not going to place our ears right next to the speaker.
That little bit of pick attack that happens acoustically is part of our sound, and most of the time isn't captured.
That little bit of pick attack that happens acoustically is part of our sound, and most of the time isn't captured.Try this: Get your guitar out, mic your amp your favorite way (if you need ideas, read past Dojo articles for some inspiration). Get some distance between you and the amp, and now place a mic four to eight inches away from your neck pickup. Be sure to aim the amp speaker and the acoustic mic directly towards you. Put on your headphones, and as you set the gain level for the acoustic mic, don't overdo it. We're not trying to make it as loud as the amp mic (although you can experiment with that in playback!). We're just trying to get a little bit of that ping and snap of the guitar as if it wasn't plugged in at all. Hit record and play for a couple of minutes. Play something loud, something funky, something soft, single notes, chords, even take a solo.
Now, before you listen back, bring down the level of the acoustic mic and then slowly start fading it in. You'll know when you get the level right, because it will start to sound like you're right in there and playing it without headphones on. Note how your spatial perception changes. If you have a solidbody, a semi-hollow, and an archtop, each will yield varying results.
Until next month, keep an open mind, experiment, and have fun.
[Updated 10/11/21]
That's the crucial difference of recording an acoustic guitar and an electric. The acoustic will have a microphone or microphones placed around it that are relatively close to your ears and will sound much more natural on playback. Whereas when we dime our 100-watt full stack, we're not going to place our ears right next to the speaker.
Try this: Get your guitar out, mic your amp your favorite way (if you need ideas, read past Dojo articles for some inspiration). Get some distance between you and the amp, and now place a mic four to eight inches away from your neck pickup. Be sure to aim the amp speaker and the acoustic mic directly towards you. Put on your headphones, and as you set the gain level for the acoustic mic, don't overdo it. We're not trying to make it as loud as the amp mic (although you can experiment with that in playback!). We're just trying to get a little bit of that ping and snap of the guitar as if it wasn't plugged in at all. Hit record and play for a couple of minutes. Play something loud, something funky, something soft, single notes, chords, even take a solo.
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Another pedal, another chance to win! Enter Stompboxtober Day 27 for your shot at today’s pedal from Gibson Maestro Pedals!
Maestro Fuzz-Tone FZ-M Fuzz Pedal
Maestro created the world’s first fuzz pedal – the Maestro Fuzz-Tone FZ-1. Introduced in 1962, the Fuzz-Tone became the sound of rock and roll and a must-have accessory for guitarists everywhere after the success of 1965’s (I Can’t Get No) Satisfaction by the Rolling Stones, which prominently featured its cutting edge sound. Now Maestro is bringing the fun and sonic fury of those early Fuzz-Tones back with the new Maestro Fuzz-Tone FZ-M. This all-analog pedal boasts a Mode toggle switch that provides two pedals in one functionality for increased sonic versatility with both an FZ-1 inspired fuzz sound and a thicker, more modern fuzz tone. Its 3-knob control layout gives you intuitive control. The Attack knob controls the amount of fuzz. The Tone control lets you adjust the timbre from bright and raspy to warm and wooly and anywhere in between. Use the Level control to set the output volume; it can go way beyond unity gain when desired. The true bypass footswitch triggers the LED lights in the bugles in the Maestro logo when it’s on, so you’ll always know when the effect is active.
Founding Grateful Dead bassist Phil Lesh has died at 84.
Official statement from Phil Lesh's Facebook page:
He was surrounded by his family and full of love. Phil brought immense joy to everyone around him and leaves behind a legacy of music and love. We request that you respect the Lesh family’s privacy at this time.
This is a developing story.
Vintage-style reverb, tremolo, and vibrato sounds abound in a 3-in-1 stomp that might be the only box you need.
The Keeley ZOMA combines two of iconic amp effects—tremolo and reverb—into one pedal.
Key Features of the ZOMA
● Intuitive Control Layout: Three large knobs give you full control over Reverb Level, Tremolo Rate,and Depth
● Easy Access to Alternate Controls: Adjust Reverb Decay, Reverb Tone, and Tremolo Volume withsimple alt-controls.
● Instant Effect Order Switching: Customize your signal path. Position tremolos after reverb for avintage, black-panel tone or place harmonic tremolo before reverb for a dirty, swampy sound.
● True Bypass or Buffered Trails: Choose the setting that best suits your rig.
Three Reverb and Tremolo Modes:
● SS – Spring Reverb & Sine Tremolo: Classic spring reverb paired with a sine wave tremolo for that timelessblack-panel amp tone.
● PH – Plate Reverb & Harmonic Tremolo: Smooth, bright plate reverb combined with swampy harmonictremolo.
● PV – Plate Reverb & Pitch Vibrato: Achieve a vocal-like vibrato with ethereal plate reverb.
Reverb: Sounds & Controls
● Spring Reverb: Authentic tube amp spring reverb that captures every detail of vintage sound.
● Plate Reverb: Bright and smooth, recreating the lush tones of vibrating metal plates.
● Reverb Decay: Adjust the decay time using the REVERB/ALT SWITCH while turning the Level knob.
● Reverb Tone: Modify the tone of your reverb using the REVERB/ALT SWITCH while turning the Rate knob.
Tremolo: Sounds & Controls
● Sine Wave/Volume Tremolo: Adjusts the volume of the signal up and down with smooth sine wavemodulation.
● Harmonic Tremolo: Replicates classic tube-amp harmonic tremolo, creating a phaser-like effect withphase-split filtering.
● Pitch Vibrato: Delivers pitch bending effects that let you control how far and how fast notes shift.
● Alt-Control Tremolo Boost Volume: Adjust the boost volume by holding the REVERB/ALT footswitch whileturning the Depth knob.
The ZOMA is built with artfully designed circuitry and housed in a proprietary angled aluminum enclosure, ensuring both simplicity and durability. Like all Keeley pedals, it’s proudly designed and manufactured in the USA.
ZOMA Stereo Reverb and Tremolo
The first sound effects built into amplifiers were tremolo and reverb. Keeley’s legendary reverbs are paired with their sultry, vocal-like tremolos to give you an unreal sonic experience.