First, I would say, kick-ASS playing SoloDallas! You really have Angus' feel nailed to the floor! Man. Only a few folks can really get not only the licks but the feel of the greats, and I'd say you have it inside of you for sure.
SoloDallas wrote:...I also need to learn to "produce" these tests/audio files better, Roe. Equalizing is a hard task and I am just a novice at it.
I am also using attenuators, which - you know - make bass freqs "fart-like". I will try and approximate - in time - tone with further experimenting. My purpose is to also document everything and possibly, help people replicate it.
Here is what caught me off guard, in reference to your post with the EQ pics. I thought, "Wait, is he tracking and then EQ-ing the tracks in post? Yes! Oh shit, I have to say something!" And I'm going to try to be brief and blunt, but do not take it the wrong way, because you are otherwise THERE with the gear, the licks, and the recording setup. So take this "in the mix" of everything else that you already have going on.
I personally think that you should really try to re-cut again, if only for more fun and experimentation, just the guitar and the amp (ok with attenuator, that's tricky) and dial the tone and depth with the guitar, amp, and mic only. Try to dial it all in on the guitar and the amp, and capture it with the mic. Try to NOT use any post EQ! Especially that ProTools EQ. It's an OK EQ and gets the job done, but EQs can be Dangerous if you are primarily relying on it to dial your tone.
I don't know what mics were used to recording BnB, but regardless, do you think they used a lot of post record, outboard gear to really shape and smooth that tone? F-NO! They recorded with Class A gear that resides on it's own Power Grid, and we mere mortals are trying to do this digitally and with plug-ins. See the diff in tone right there at the source?
OK, See, you have in your lead tone a Massive 12, almost 13 db hump in your HMF. This alone pretty much kills whatever may have happened with your amp. So I would say we are not actually hearing your rig!
In your rhythm guitar, those Humps are not just "bumps" ... there are Mountains of db gain ... from 9 to 17 db of GAIN! All done from a digital EQ that ships stock. See?
The main reason I'm keen on your plight is I've been cleaning up a "turd" recording session. Guys I know recorded to an 8-track 1/2" machine that is so far out of alignment, it's almost an "Audio Restoration" gig instead of a mix. Terrible mic technic (I saw it!)... SM58 laying on a pillow inside the bass drum kind of crap. Out of phase, you name it. My Nashville engineer bud has been schooling me on the most efficient, but True path, to getting the job done right and within reason, and within my limited understanding and means. I bought
IK Multimedia's T-Racks Classic EQ just for this gig, and it is stellar to use. (Got it when IK had a Standalone Plug-In Sale, $50 each! sign up and wait for their sales
)
Anyway, because this particular session was SO bad, he suggested we go in and add "Smiley Curves" to the drums and a few select things. Here's the actual smiley we used, and note, we ONLY added a max of 10 db, and we ONLY used the HPF and LPF. This was used to bring back the brilliance and lo-end that the old tape machine ate along the way. To repeat, we are only using this much gain to compensate for loss on the tape, not to shape tone. And we only used the Hi and Lo Pass for this. 10 db is a LOT to add, way too much especially for a plug-in, but we are trying to save something here...
At any rate, and oddly enough, your tracks sound great!
But you get where I'm coming from, and if noone knew better (not that I do!), then you could leave it at that. But one may hear the "forced shelving" that it going on with those guitar tracks. There is NO REASON on Earth that anyone should have to use that much post EQ for anything, unless you are out to anihilate the track. Though they sound good in the mix of the original, I'd just say they are "not true".
Now, if you have to lean on EQ, then I would only bump or cut anything 4 db or so. Period. You should get it at the source. Try to think Old School. 90% of the work is in pre-production, getting the setup right. When you've tracked and go to mix, it's done and it's there and it's a breeze.
It's a tough balance: the guitar, the pickups, the amp, the speakers, the attenuator, the microphone, the room. A very tough balancing act, but a joy to "do".
I'd say start all your amp settings at 12 o'clock, including Pre and Master Vols. Then, attenuate but try to keep things as loud as you or the neighbors can stand.
Keeping the attenuator as out-of-the-way as possible can only help.
BTW, I love that you used your guitar's Vol knobs down to 7 and 8.
Then, attenuate, or dial OUT Bass, Prescence, Hi's until you actually hear THAT tone in the room, or coming off the speakers.
The mic will impart and pass certain frequencies too, so track it and listen to what the mic does to that tone, then adjust the amp to work with the mic. Try an SM57 too.
But you've got to get it at the amp, and not on the desktop man, that's my point.
Also, if you have the hard drive space, try to record in 24-bit 88.2k for the highest resolution possible. That will help your playback perception tremendously.
Remember, you have an SG and a late 70's JMP! Try to remember that That's All You Really Need!
And once again, Killer Playing!
