Setting Up Your Space Guitar Lesson
Setting Up Your Space
Setting up your space for optimal audio recording and play back is key to creating a successful home studio. Chris explains how to create the best possible environment in this lesson.
Taught by Chris Liepe in Recording and Micing seriesLength: 27:48Difficulty: 2.5 of 5
Supplemental Learning Material
Recording and Micing
Found in our Beginner Lesson SetsUnderstanding the basics to recording and micing your guitar can help you develop as a musician. Gain a grasp on how to create your own personal studio
Lesson 1
Introduction and Getting Started
Welcome to lesson 1 of the Recording and Micing series! Here Chris provides some information essential to getting your home studio up and running.
Length: 15:50 Difficulty: 2.0 FREELesson 2
Setting Up Your Space
Setting up your space for optimal audio recording and play back is key to creating a successful home studio. Chris explains how to create the best possible environment in this lesson.
Length: 27:48 Difficulty: 2.5 Members Only
Understanding Microphones
Chris demonstrates how microphones work and how to choose the right microphone for a specific application.
Length: 12:26 Difficulty: 1.0 Members Only
Direct Recording
Chris explains how to successfully record through some direct recording techniques. When done correctly, you can record a clean signal from your guitar with no microphones.
Length: 8:33 Difficulty: 2.0 Members Only
Electric Guitar / Amp Micing Techniques
Chris liepe unlocks the wonders of micing an electric guitar amplifier. He explains how to find a speaker's "sweet spot" as well as the differences in tone between various common micing techniques.
Length: 21:13 Difficulty: 3.0 Members Only
Acoustic Guitar Micing Techniques
Chris Liepe teams up with Jim Deeming to present proper acoustic guitar micing techniques. Chris covers both single and dual micing placements and explains why each position is effective for certain situations.
Length: 20:34 Difficulty: 3.0 Members Only
Acoustic Recording Options
With the help of Jim's playing, Chris has rigged up Jim's guitar three different ways and demonstrates the different qualities of sound you can get by recording with a direct line in, micing the amp, micing...
Length: 6:18 Difficulty: 1.5 Members Only
Layering Multiple Guitar Tracks
With Jim playing 3 different sequences to overdub on top of one another, Chris will record them using 3 different micing techniques with 2 different guitars to create 1 final track.
Length: 14:07 Difficulty: 3.5 Members Only
Effects Signal Routing
Chris takes a step back from electric and acoustic micing to demonstrate the proper way to route your effects to achieve the best possible sound.
Length: 14:20 Difficulty: 2.0 Members Only
Direct Guitar Recording (Using a DAW)
Chris uses a Pro Tools session to demonstrate not only how to create a solid lead guitar sound within your home DAW, but how the basic tools and tips that he demonstrates can be applied to any software...
Length: 30:12 Difficulty: 4.0 Members Only
Direct Guitar EQ Basics
Chris Liepe reveals the basics of how to properly understand and utilize EQ tools within a DAW to define and enrich your overall guitar sound.
Length: 40:17 Difficulty: 4.0 Members Only
About Chris Liepe
View Full Biography
Chris Liepe was born on September 17th, 1981 in Portland OR. His first instrument was piano which he pursued until discovering his love for the electric guitar in high school. He became fans of such groups as Soundgarden, Collective Soul and U2 inspiring him to start singing, songwriting and helping others in their musical endeavors with teaching, co-writing and album production.
Having moved to Colorado with his family, he began gigging, recording and teaching in a number of music stores as well as out of his apartment until deciding to pursue music full time. He moved to Denver, CO to complete a Bachelors in Music Technology and was then hired on by Sweetwater Productions, a division of Sweetwater Sound and one of the largest, most successful recording studios in the Midwest.
Chris spent nearly 4 years at Sweetwater as a producer, recording engineer, studio musician and writer. During this time he had the privilege of working with many artists including Augustana, Landon Pigg, Jars of Clay, and Mercy Me. He also wrote for and played on numerous independent albums and hundreds of radio/TV commercials.
Wanting to get back to his favorite State in the world (Colorado) and feeling the urge to 'go freelance', Chris moved to Greeley, CO and opened his own recording and teaching studio. He continues to write and produce music for artists and agencies and is happy to be among the proud JamPlay.com instructors.
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Member Comments about this Lesson
Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.Cool info...Chris say you have a the money to build a room how would you go about doing so? Would you round the corners in the room...ect..ect?
thats a good discussion idea... can you stop by one of my live q & a's and we can talk about your room building project?
*Absorptive, not absorpsive.
Ignore me, that was my ears playing up. Great series of lessons.
Thanks for this series Chris. I play guitar, bass and keyboard. When I record, all 3 are plugged directly into my interface (digi 003 rack). The only thisng I record into a mic are vocals. So how important is room set up for my specific situation? Thanks again.
having a properly treated room will really effect how your vocals are recorded. As you'll hear in a later lesson, condenser mics (when recording vocals) pick up a lot about their environment, and if you are a loud singer, the sound can bounce around the room and back in to the mic so you have multiple "sounds" trying to get to the mic at different times. This really screws up the sound. Most people don't attribute an "off" vocal to sound a badly treated room, they just figure that they need a better mic or something, but the difference is amazing. Also, for mixing... even if most of your sounds are direct, bad room reflections will skew your perception of the mix causing you to make decisions that may hurt the sound of your music. For example, you're sitting in the corner of a room while mixing and there are no bass traps: your perception will be that there is a lot of bass, but thats really just the bass building up in the corner causing you to think there is too much bass. So when you go to a "normal" listening environment, like a car, or other stereo system, your mix will have very little low end compared to other recordings you listen to. Or if you are mixing in an untreated bedroom where your speakers are bouncing all over the rooms, there may be some higher mid range frequencies that build up causing you to "scoop" too many mids out of the mix. If you start with a reasonably treated room, you set yourself up to make better sounding mixes right from the start.
Thanks for taking the time to give a clear and thorough answer to my question. I truly appreciate all the time and effort you put into this. It's obvious that you're passionate about what you do and that you put your all into every lesson you teach. My hats off to you buddy.
I wish something like this was available when I first got started... Chris this is a great series and you're great at the helm.
thanks Chris, very informative :D
Cool, nice lesson, I was always wishing Jamplay would get a few lessons like this.