Thus far, I have recorded the bass and guitar to the White Stripes song "Seven Nation Army", with drums and vocals to follow.
I started by recording myself playing the bass guitar through Direct Input, straight to Logic Pro X. I did this because DI recording allows for the removal of ambient noise, as well as a cleaner, much more authentic bass sound, and it is a favourite recording technique among bassists.
I recorded the bass to multiple parts of the song in various tracks. I did this because it allowed me to apply different noise gates and equalization (EQ) to different parts of the song. I did this because it allows for a range of different sounding bass for different parts of the song, and the noise gates allow for a much cleaner, professional sound with their removal of ambient noise and small interference.
I recorded the guitar using two dynamic microphones, a Shure SM57 and a Røde NT2-A microphone. The SM57 was positioned very close to the amp, on-axis and off-center. This was because the dynamic nature of the SM57 allows for it to record well with high Sound Pressure Levels (SPLs) and because I was recording at a high volume. The Røde microphone was placed further away from the amp (approximately 1ft), off-axis and off-center. I used this placement because it is a contrast from the SM57's placement, so it would give me a clear difference in the signal recorded, so as to allow me to edit and EQ both signals individually from one another, allowing more more diversity and creativity in my guitar's sound. In addition to this, the difference in placement of the microphones also serves to avoid phasing issues in the recorded signal.
I started by recording myself playing the bass guitar through Direct Input, straight to Logic Pro X. I did this because DI recording allows for the removal of ambient noise, as well as a cleaner, much more authentic bass sound, and it is a favourite recording technique among bassists.
I recorded the bass to multiple parts of the song in various tracks. I did this because it allowed me to apply different noise gates and equalization (EQ) to different parts of the song. I did this because it allows for a range of different sounding bass for different parts of the song, and the noise gates allow for a much cleaner, professional sound with their removal of ambient noise and small interference.
I recorded the guitar using two dynamic microphones, a Shure SM57 and a Røde NT2-A microphone. The SM57 was positioned very close to the amp, on-axis and off-center. This was because the dynamic nature of the SM57 allows for it to record well with high Sound Pressure Levels (SPLs) and because I was recording at a high volume. The Røde microphone was placed further away from the amp (approximately 1ft), off-axis and off-center. I used this placement because it is a contrast from the SM57's placement, so it would give me a clear difference in the signal recorded, so as to allow me to edit and EQ both signals individually from one another, allowing more more diversity and creativity in my guitar's sound. In addition to this, the difference in placement of the microphones also serves to avoid phasing issues in the recorded signal.