Recording - July 2019 - 4

publisher:

Thomas Hawley
Brent Heintz

associate publisher:

FadeIn
"Love The Choices"

Despite being a percussionist, vocalist and synth
player, a large part of me laments never having
learned to play the electric guitar. This may be why
it is one of my favorite things to record in the studio.
I love it when guitarists come to my studio with various amps big and small, stacks of effects pedals,
and all shapes, sizes, and brands of guitars. I love
finding the best microphone, preamp, and processor combination to hopefully translate what the gui- -Lauten LS-308
tar player wants and hears in his head into the tone (reviewed on page 36) on
a Fender Princeton Reissue.
we capture on "tape".
If there is a downside to the process, it's that there are a zillion paths you can
take to make this happen.
You can choose the time-tested Shure SM57 and Royer R-121 into a Chandler
TG-2 preamp, a combination favored by many engineers over the past decade.
You can stick a single large-diaphragm condenser mic a few inches off the grille
and call it a day, or you can dive deep into plug-in amp simulations. Then you
can choose to reamplify, add in a rack compressor during tracking or mixdown,
or you can combine of all of the above. My point being: today the choices are
endless, and none of them are right or wrong.
As you may have guessed by now, the theme of this issue is recording the
electric guitar.
To help us navigate the many microphone choices on today's market, we go
straight to the source and ask 37 microphone manufactures what one microphone
in their line they would recommend for the task of electric guitar recording.
For reviews, we look at guitar-focused hardware and software from IK Multimedia, a plug-in suite of boutique amp-sims from STL Tones, and a quartet of effects
pedals from Boss, Strymon and GFI Systems-each one made for guitar, but perfectly at home as studio effects as well.
The microphone portion of this issue is brought to you by the letter "L" with the second
model in Lauten Audio's Synergy series, and a new pencil condenser from LEWITT. We
also have a pair of Swiss-designed all-analog studio monitors from PSI Audio.
We have three interviews this month. We learn about tracking the blues guitar
stylings of Christone "Kingfish" Ingram, the space-echo drenched rockabilly guitar
sound of Brian Setzer as heard on the latest album by the Stray Cats, and then we
go behind the scenes of virtual amp modeling with producer/engineers Howard
Benson and Mike Plotnikoff.
Samantha Blanchard walks us through the history of blues recording in her
article "Throwback to the Future," and of course we have Marty Peters' Readers'
Tracks and more.
Note that we will be taking a one-month break from Darwin Grosse's Studio 101
series, but never fear, it will return next month as Darwin continues his look at controllers in the recording studio... which fits perfectly, since next month is our DAW issue.
Okay, enough talk-let's dive in. Enjoy the issue!

EDITORIAL
Paul Vnuk Jr.
special projects editor: Lorenz Rychner
consulting editor: Mike Metlay
editor at large: Beto Hale
músico pro editor: Rodrigo O. Sánchez
editor:

CONTRIBUTORS
Samantha Blanchard, John DuVal,
Alex Hawley, Mike Metlay,
Justin Perkins, and Marty Peters
SOCIAL MEDIA
Brent Heintz, Paul Vnuk Jr.
ART & PRODUCTION
Colin Courtney
production manager: Colin Courtney
art director:

PLAYBACK PLATINUM SERIES
Lorenz Rychner

editor/producer:

CIRCULATION
Tiffany Sepe

circulation manager:

ADVERTISING SALES AND MARKETING
director: Brent Heintz
classifieds manager: Colin Courtney
ADMINISTRATION
Thomas Hawley

accounts receivable:

EXECUTIVE OFFICERS
Thomas Hawley
vice president: Brent Heintz
president:

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RECORDING July 2019

Recording - July 2019

Table of Contents for the Digital Edition of Recording - July 2019