Or, you can skip the real amps entirely, and dive into the endless tonal possibilities offered by countless amp sims. If you have DIs, you can always re-amp using a different miking technique, or even using a different head and cabinet. But sometimes a tone that sounds great one day can sound merely adequate the next-or worse. You might never need them you might be happy with the guitar tone and continue to be happy with it right until the end. Even if you’re miking a real amp and cabinet, split the signal, and record DI tracks simultaneously. I’m not going to get too deep into the actual recording process here (cabinets and miking deserve their own post), but I do want to impress one thing upon readers: if at all possible, always record the cleanest DI tracks you can for all of your guitar parts. So before I start posting screenshots of parametric EQs, I think it’d be helpful to write a few words about that. Most modern studios rely on some combination of re-amping techniques and amp sim plugins to provide maximum tonal flexibility during the mixing stage. Even though it’s true that you can rarely take a poorly recorded tone or performance and fix it during the mixing stage (it might never happen), there are currently techniques and technology available that will help to prevent ever finding yourself in that situation. Most people overthink it.The bad news: 90% of the battle is starting with good tone right off the bat. I’ll start with the good news: guitars are often easier to mix than every other instrument you’d find in a typical metal track.
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