A few years back I was considering a DynaMount as well. It's an incredibly cool concept and as soon as you see it you wonder why it hasn't been around all along. Especially if, like me, you're often the only person in the studio serving both as engineer and (alleged) talent.
Ultimately, instead of buying one I just sold all my amps and bought a Kemper.
Is that cheating?
I went the other way. After buying the Kemper I have been buying more amps and cabs ??
If it's a mono signal distributed across the KPA's stereo outs, the two halves will be phase-coherent.
If you sum them in a DAW, there'll be an increase in level, but that's about it, so in such cases one might as well record only one of the stereo-out halves (L or R).
This is true. But if you have any type of stereo effect on, like rev or mod, it would be a different story.
I recorded something in stereo and it’s partially phasey. If I sum then to Mono will they not be phasey?
If you have recorded in stereo, and for some reason you don't want to re-record, you could split the stereo file in two mono files and delete one of them.
That's interesting to hear. While modern country (at least here in the US) is basically just pop sung with a southern twang and thus the wall of sound thing, blues is something I would have expected to be more of a sparse arrangement. As I think more about this, it seems that the benefits of single versus multiple tracked guitars has less to do with genre and more with the sparseness or fullness of the overall arrangement. Especially since, to paraphrase Yoda, "Always in motion is the music."
Of course, I have no exposure to the music scene in Norway so I don't know what the vibe is like there for things like country and blues.
Arrangement is key when it comes to recording music.
Here is a example of Norwegian country/blues. This is an old recording of a band I used to play in, and this was recorded like i described earlier.
Only differanse is that the left and right guitar was recorded with different amps this time.
This was recorded at our rehearsal space, so the sound quality is not the best
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And here is a band I produced earlier this year. Guitars are double tracked using the same amp for left and right. And on the choruses I think we ended up with 8 or 10 tracks of guitars panned 100% LR.
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To me, conceptually, it seems like wide guitars are the enemy of a good mono folddown.
My thinking:
Wide guitars necessitate a lot of difference between the two tracks - since stereo width is basically an effect of the differences between the signal in each channel of the stereo mix.
But when thinking in terms of "mid/side", all that differences is is actually sounds that are out of phase with each other. Which means more cancellation when folding down to mono.
Thinking of it this way exclusively, I would actually think that in order to achieve good mono compatibility, you should actually use the SAME amp, settings, guitar etc etc on both tracks - and not go for having different sounds left and right.
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Four separate takes. Two with the main rhythm sound (same amp and settings panned LR) and two with a different/lower gain sound (same sound and same settings panned LR). This is easy.
I have never had any problems with this. I record/produce rock, blues, country, metal and stoner rock.
When I record guitars I do it the same way almost every time. Double tracking for the majority of the song (two separate takes) and quad tracking (four separate takes. Two with the main sound and two with a different/lower gain sound) for the parts that need it, like chorus and bridge etc.
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There are some really great profiles in here. I am really liking the Marshall packs, but particularly loving the Fender amps at the moment for the jangly stuff. Many, many thanks for these! Some great effects settings too, to top it off. I like others, hope that you aren't giving up on the profiling.
Thanx. I have two Kempers now, so I'm not quitting any time soon