Electric Guitar / Amp Micing Techniques (Guitar Lesson)

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Chris Liepe

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.

Taught by Chris Liepe in Recording and Micing seriesLength: 21:13Difficulty: 3.0 of 5

Video Subtitles / Captions

Member Comments about this Lesson

Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.

mkettlermkettler replied on August 26th, 2015

Creeper warning at 9:20 lol

CraigMR76CraigMR76 replied on August 30th, 2012

Awesome, I'm loving this lesson set.

azziazzi replied on July 10th, 2012

Hi Cris, int he supplemental contente we have two times "Condenser off axis". Where is the "dynamic off axis" shown in scene 2?

LanjaLanja replied on February 24th, 2012

This by far is one of the most informative studio lesson I've had. Great job guys! Love the questions too, they answered all my questions.

janthemanjantheman replied on August 11th, 2011

Is there anything in this series that covers latency? I have a huge problem with latency

Chris.LiepeChris.Liepe replied on September 28th, 2011

Most latency problems are related to outdated computers AND/OR cheap gear. I've never had latency problems with Pro Tools using Digidesign/Avid hardware (even the inexpensive stuff) but I've had many problems with situations where I'm going directly in to a computer sound card without a real recording interface. What kind of gear are you using?

audazzaudazz replied on September 2nd, 2011

Is it still ok to have your amp in the same room with the rest of your recording equipment? Anything you need to take special notice of in such case? Great job guys, thanks!

Chris.LiepeChris.Liepe replied on September 6th, 2011

its okay but not preferable. When you have your amp cranked in the same room, it's harder to make adjustments to your sound while listening to your studio monitors or headphones as you see me doing in the lesson. Even if its in the bedroom next to you or down the hall, it's better than having it right next to you in the same room

hakea333hakea333 replied on May 20th, 2011

Very interesting demonstrations Chris. It was particularly useful to get direct comparisons like that. One of the hardest things for 'home hobby' recorders to determine is what weight to put on the enthusiasms of more experienced people. Many of us are likely to be working with considerably less professional equipment, and also may not need to be shooting all the way to the sort of perfection that pro audio engineers chase. But it’s very hard to tell from reading articles which aspect is really worthwhile putting the time and money into and which is more like “nice, but not quite so essential” . So your clear explanations and audio files were a tremendous help. I was listening through a fairly modest setup - a pair of M-Audio BX5a powered monitors. They’re well below pro standards, but obviously a lot better than the average radio speaker, car CD player, ipod earbud, etc. So probably a reasonable middle of the road test. I could hear a clear difference in some instances, and really not all that much in others - which is all very useful information. You’re giving us lots to experiment with in this series, which will be a great help when we come to decide where to best invest whatever time and money we have to spare. Thanks for a good job. Chris C.

Chris.LiepeChris.Liepe replied on May 23rd, 2011

you are welcome! we'll be adding acoustic mic'ing soon!

tomruggieritomruggieri replied on April 29th, 2011

This was very informative and, if you don't mind, I'd like to take it a step further and ask you some questions and throw out some assumptions that you can set me straight on if not correct. First, I assume we are hearing all of the various examples through your monitors and the amps behind you are safely in a sound proof room with no leakage. Can you say what monitors you are using? They sound pretty good. Second assumption is that you are using Pro-Tools. Even if you aren't, I think you can answer my question. When you are recording the combined microphone set up, are you recording onto one stereo track or two mono tracks? Recording the amp with the mic seems to have the advantage over recording direct, because it seems the mic'd amp, that sounds pretty good already, will not need much additional processing and help conserve computer system resources that will help to avoid playback issues that always seem to pop when you use a lot of plug ins. Lastly, going back to an earlier lesson where you recommended that we utilize some type of midi controller, I have researched the subject and there's a lot of them out there. Due to space constraints I have narrowed the search down to the M-Audio Oxygen 25 v3, M-Audio Axiom 25 II, Akai MPK25, Novation Nocturn 25 and I could probably squeeze in a Cakewalk A-300PRO 32 key. The net price range is in the $130-$300 range, which seems reasonable to me. I don't know if you are constrained in any way as to recommending a specific product, but, if not, does this look like a good group of prospects and is there any particular one that you consider a cut above. I'm looking for a starter controller that will have enough fire power to keep things interesting for awhile. I use Pro-Tools 8 le with and MBox 2. Thanks and I appreciate the detail feedback you provide when your fans ask you questions.

Chris.LiepeChris.Liepe replied on May 5th, 2011

"First, I assume we are hearing all of the various examples through your monitors and the amps behind you are safely in a sound proof room with no leakage." -- No, you're not hearing my studio monitors at all. You're hearing a direct from Pro Tools. In order for you to hear my monitors, I'd have to mic my monitors and record those in to Pro Tools. So you're just hearing the tracks directly recorded in to Pro Tools. "Can you say what monitors you are using? They sound pretty good." -- MAudio DSM1's with a Tannoy 8" sub. "When you are recording the combined microphone set up, are you recording onto one stereo track or two mono tracks?" --Two mono tracks! This way I have better control if I need to EQ on mic differently or add other effects. I rarely use stereo tracks unless I'm recording keyboards or something. "Recording the amp with the mic seems to have the advantage over recording direct, because it seems the mic'd amp, that sounds pretty good already, will not need much additional processing and help conserve computer system resources that will help to avoid playback issues that always seem to pop when you use a lot of plug ins." -- YES!! This has been my experience. It takes some patience to find the right sound with the amps and mics, but it feels and sounds great once you get things dialed in. Most of my favorite recordings growing up were made by throwing a mic in front of a great amp, so I really like working that way! "Question about Midi Controllers" --Really its all about what you can afford and what kind of feel you want. I opted to spend a good deal of money cause I wanted something that FELT like a real piano. The ones that you mentioned in your comment are all great, and small is certainly workable with space constraints. I'd say, pop on over to your local music store and play around with a few of them and see what feels right. All of them WILL work just fine. It's kinda like buying a guitar. They all make sound and do their job, but you have to play with it to find what is right for you.

matt95matt95 replied on April 22nd, 2011

Just wondering, can I expect much more out of this series, or is this pretty much the last lesson for a while?

Chris.LiepeChris.Liepe replied on April 22nd, 2011

There's much more. We will be adding to it next month.

matt95matt95 replied on April 26th, 2011

Nice, looking forward to it!

Jane.MillerJane.Miller replied on April 21st, 2011

I'm excited to learn from this series. Thanks, Chris and JP team!

hereticsound666hereticsound666 replied on April 18th, 2011

hey chris i see somebody in the background playing with your trinkets you have on your nightstand at 08:50 in scene 2 lol.

Chris.LiepeChris.Liepe replied on April 19th, 2011

Haha. That was Tyler adjusting the camera, reflecting Off the glass

mkorsmomkorsmo replied on April 18th, 2011

I have watched a TON of videos and read a LOT of articles on this topic. This is far and beyond the clearest, most useful video on this topic I have seen. Period. Great job guys.

Recording and Micing

Found in our Beginner Lesson Sets

Understanding 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 FREE
Lesson 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
Lesson 3

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
Lesson 4

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
Lesson 5

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
Lesson 6

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
Lesson 7

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
Lesson 8

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
Lesson 9

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
Lesson 10

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
Lesson 11

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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