Recording your lap or console steel

[Todd Weger]

I'm wondering what you all use to record your steel with. I have a 1960 Fender Stringmaster (22.5) which I have been running straight into the board from the volume pedal. Sounds pretty good, but I'm hoping to add more...ZING to it, and make it sound more alive. Would a nice tube pre-amp give me what I'm looking for? I have mic'd my amp, and that's pretty good, but I like the super clean sound from going straight in (plus, I can keep going during a take, when my son walks in and says "are you recording?", the cat freaks out in a meowing fit, or the phone rings . I'm hoping all I need do is just juice up the pre signal a little bit.

Any advice sure is appreciated! Thank you.

TJW

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Todd James Weger/RD/RTD
www.franchise-yourself.com
1960 Fender Stringmaster D-8 (E13, C6)

[HOWaiian]

NO amount of experimentation is ever enough! try going thru tube pres, SS pres, compressors, a Walkman, your telephone, heck, ANYTHING. Never stop until it sounds real good to your ears, get it on tape, write down your chain/settings so you don't forget 'em, then experiment some more.

The fun never ends!

Also, I urge you to check out http://www.tapeop.com/
It's like Mix Magazine, only for real people. Subscribe free to the print version, too. I can't say enough good things about this mag.

good luck,

how
<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by HOWaiian on 05 February 2001 at 04:17 PM.]</p></FONT>

[Doug Beaumier]

I like recording direct using only a little bit of compression and EQ, and adding stereo reverb at mixdown. Try several different types of reverb at mixdown... shallow, large hall, bathtub verb, etc. You'd be surprised at how different reverbs can alter the sound of your steel.

Try using two separate tracks to record your steel... Mic a small amp and record that onto one track, and take one direct line, as described above. At mixdown, apply different reverbs (or choruses or delays) to each steel track and pan them full left and full right.

If your mixer EQ controls can be used during recording (instead of just during mixdown), set them radically different for each of the two steel tracks while you are recording. Try boosting the highs way up on one track, for example. Careful use of chorus or others types of pitch modulation will add motion to your steel. Delay will help to give you an ambient "room" sound. It's important not to overdo it with the effects however. What you're looking for is good separation to make your steel "jump off the tape"... or disc.



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www.dougbsteel.com

[mikey]

It sounds like, for your needs, try and find an ART Tube Pac..It's a Tube mic(and instrument) preamp and compressor...I don't know if they still make them, but I'm sure ebay has 'em...also a Alesis Nanoverb for a little reverb, (unless you've got a fender reverb unit)...works for me when recording at night at home,
Mike

[Peter Jacobs]

Have you tried a direct box? There are a few kinds to look at, but these can help preserve your high frequencies by converting your high impedance guitar signal into a low impedance mic-level signal -- you then need to run a microphone cable from the box to the board.

There are passive and active versions, as well as ones with tubes. Also, I use a box (now discontinued) from Morley -- the JD-10. It's an overdrive/line driver that can be used as a direct box -- it does not use an XLR-type cable -- instead it has a TRS 1/4" output, so you can use a standard guitar cord or a cord with stereo plugs on each end. It sounds great run right into the board, as it has a speaker simulator (and costs a lot less than a POD). I believe that Award, the British company that made them for Morley, has come out with a replacement model.

[Mark van Allen]

Another great little unit is the $99 (street) RP-100 from digitech, fully programmable amp simulator, effects unit, headphone amp, etc. The reverbs and delays actually sound good, and the amp sims run from nice clean fendery things into sweet distorted AC-30s and Marshalls, great for blues lap playing. There are multiple choices for cabinet/speaker/miking simulation that really translate well to tape, and even a rudimentary drum machine for songwriting and practice. I use one in my practice rig and for recording, and I like it better for some things than the POD or some of the other processors I have. a really great little unit.

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Mark van Allen-"Blueground Undergrass" Pedal, Non-Pedal, Lap, and Dobro