That's how it is with mixing and recording. You have to get the guitar thin in the mix, while still sounding good, so it will leave room for the vocals and other instruments while sitting well in the mix. What's amazing with our human hearing is that, as listeners our ears will 'fill in' the missing lows from the guitar tracks. Now, unless your someone who practices focusing in on the guitars tracks in a mix, you'll train your ears to hear what you hear and you won't notice this phenomenon.gluke wrote: ↑Thu Apr 22, 2021 8:26 amThis is the video I was talking about (I'm sure it's somewhere in this tread already) at 15:30 somthin' he switches the EQ in and out on the SM57. A lot more mid and hi boost than I had expected.
If you start tweaking your amp after that kinda EQ boost it ends up way too bright, or you get carried away and overcomplicate things trying to mimic the studio EQ.
I've seen that video and over at SOS's website they have a good article with a lot of detail on how Eric recorded Slash's album. Even though Eric is A/B'ing the high EQ in this video, and it sounds like the amp isn't as bright without it, there's still a lot of high end roll-off from the original signal from the speakers due to signal chain from the speaker through all of the outboard gear, including the console itself. So you can rest assure that the sound coming from the amp is somewhat brighter than what your hearing when he takes the high EQ off.
The way Eric recorded Slash for his solo albums was quite a bit different than how Mike Clink produced AFD back in the day. You can throw UYI in there as far as that goes as well. With AFD, they used a Trident 80B board, and with UYI, SSL4000 consoles were used. Both have a different sound from one another, and different from what Eric's custom made board sounds like. Eric also used several different mic and blended them to get Slash's sound, so that will have an effect too, versus the one mic setup plus room mics with Clink. These are just a few of the differences you hear with character of Slash's sound. I guess mainly with #34 here since #36 was only used on AFD. But good stuff here with what Eric shares.
Here's the article over at soundonsound:
https://www.soundonsound.com/people/sec ... -valentine