Direct Results

Dec 1, 2006 12:00 PM, By Mike Levine

Amp Direct

If you have a modeling amp such as the Vox ValveTronix, Line 6 Vetta, or even the inexpensive Roland Micro Cube (which features Roland's COSM modeling technology), you can take a direct line out to your input device's line in (the Vetta also has a digital output). On many such amps, plugging into the direct out or headphone out will mute the speaker, making the amp function essentially as an outboard processor. Some tube amps, such as those made by Mesa/Boogie, also have direct outputs that are designed to be used when recording. Keep in mind that when using an amp's direct output, you'll be missing the sound of the speaker, so you might want to add a speaker simulation for additional realism.

You could do that with a modeling plug-in, or you could use one of a number of outboard products designed to provide you with a speaker-simulated DI sound. For instance, the Hughes & Kettner Red Box Classic (see Fig. 3) lets you plug your amp's line out or speaker out into it, and then sends a balanced signal, featuring a simulation of a 2 × 12 or 4 × 12 cabinet, to your sequencer or multitrack.

When plugging your speaker output into a simulator, remember that you must always keep a speaker load on your amp, or you might damage its output transformer. The Red Box Classic has a Speaker Thru output, which you connect to your speaker input jack after you've plugged the amp's speaker out to the Red Box's speaker input. Doing so presents your speaker with its accustomed load, avoiding any possible damage. The disadvantage of this arrangement is that you'll still hear the speaker, which will negate one of the benefits of direct recording — silent operation to avoid leakage.

If you're willing to spend considerably more, you can get processors that let you record direct from your amp with the speakers muted. For instance, the Palmer PGA-04 and the Sequis Motherload provide speaker emulation and send a “dummy load” to your speaker input, thus avoiding any potential damage. Another advantage to running an amp with the speakers muted is that you can crank it up really loud, which, with a tube amp, will likely net you a sweeter tone.

A hybrid approach that will give you a real cabinet sound with the flexibility of reamping starts with recording your part clean through a miked amp. Then you can reamp it through a modeling plug-in, adding whatever amp and effects sounds you want.

Where Are the Models?

Even if you don't have a modeling device or plug-in, you can still record some believable DI guitar parts, although it takes more doing and will yield only clean sounds. One trick is to add a tad of room reverb to the track, to give it a bit of space (see Web Clip 2).

Adding some compression can also help your track sound more authentic. Try experimenting with EQ settings too. Applying a highpass filter to cut out some unneeded lows will often improve your track. It will also help the track sit better in the mix. And, as mentioned, a tube preamp can help.

But if you record on a computer, there is no reason to be without amp-modeling software. Even if you don't want to spring for a commercial modeling plug-in, you can find pretty-good-quality freeware modelers for both Mac and Windows. For instance, MDA Combo, which runs on Mac or Windows, gives you speaker simulation, overdrive, and several other sound-shaping parameters. Windows users might also want to try Fretted Synth Audio's FreeAmp 2 (see Fig. 4). This VST plug-in offers amp and cabinet simulations, overdrive, chorus, reverb, delay, tremolo, and more.

Go Directly There

Recording direct is a useful option that should be considered whenever you're tracking guitar. It may not always provide you with the ultimate sound, but it gives you versatility, variety, maximum isolation, and convenience. In many situations, it's simply the best way to go.

---

SIDEBAR
DOUBLE DOSE
Here's a pseudo doubling trick you can use when recording with a direct box. Patch your guitar signal into the DI's instrument input and through its XLR output, and connect the DI's ¼-inch pass-through output to an outboard modeling processor that's connected to another line input on your recorder. Record both signals to separate tracks, panned left and right, and reamp the unprocessed track (from the XLR out) with a modeling plug-in. You can get some really fat sounds without having to double the track (see Web Clip A).

If you have the time, track count, and inclination, recording a doubled rhythm guitar part (especially in rock and pop songs) is a great method for getting thick sounds. Many contemporary recordings feature doubled rhythm guitars. After you've recorded the first track, the trick is to make sure you hear it really well in your monitor mix when recording the second, so that your doubled performance is as close as possible to the original.

---

Mike Levine is an EM senior editor. Thanks to Mark McCrite, Peter Janis, John Bednar, Orren Merton, and Michael Cooper.

See next page for Manufacturer Contacts