The BEST Way To Record GUITAR

I learned the best micing technique from producer Dann Huff in Nashville. Here's how the pro's record guitars in Nashville. In this video I'm using a Royer R-121 and Shure SM57 combined with the new SM-21 Mic clip. Read about it here: http:/www.thexclip.com
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[@recording411]

Someone went up to Chet Atkins and said, "That guitar sounds really good!" Chet put the guitar in it's stand and said, "How does it sound now?"

[@yqwgjsg]

Nuff said 😎

[@JohnnyArtPavlou]

Like a mic drop. With a guitar. But not dropping it.

[@johnnybrown9581]

He was the man

[@shoegazeforever8810]

Chet Atkins: "When I was a little boy, I told my dad: "When I grow up I want to be a musician." He replied: "You can't do both, son."

[@phantomlord5707]

Mr. Guitar🔥

[@caseymurrow4681]

Thanks but my iPhone pressed against my solid state Marshall will have to do for now 😂

[@tehultimateshreddar]

and it's not even against the the cab, I bet

[@justfelix6171]

@@tehultimateshreddar it's on the table near it

[@stuntmaster127]

Hey man get it done!

[@nathanadnitt]

Hey man if you wanna record through your amp buy yourself a cheap irig and 6.55mm to 1/4 cable and plug it into the headphone socket on your amp to the irig and boom its not great but it works

[@Will-yi9cg]

@@nathanadnitt whats an irig?

[@anthonysilva5312]

I LOVE these organic, unprocessed, natural and classic guitar tones.

[@jacobbarber3131]

anthony silva KZbin puts compression on their vids regardless of the quality it’s uploaded in

[@anthonysilva5312]

Jacob Barber I know

[@lolaa2200]

I don't see what is natural in any electric guitar sound ;c) By the way using this particular speaker with this particular mics placed in that particular place and feeding them into that particular type of mic preamp and finally mixing those ... all this is actually a tone of processing !!! This processing as became classic because it's a combination that works really well, but it's by no mean natural nor unprocessed. Just my 2cts...

[@jacobbarber3131]

@@lolaa2200 It's less about the actual sound as it is about the recording being transparent. Most people want their recording to sound as close as possible to the way it did live in the room, which is very difficult since the diaphragms in mics have mass and the other electronics have their own properties which will color the sound. So when someone says "natural" they mean it sounds like an electric guitar and not a recording of an electric guitar.

[@lolaa2200]

@@jacobbarber3131 But that's presisely done the oposit way here !! Both SM57 and the R121 are known to be the non transparent kind of microphone. Large diaphragme condencer mics would have been much more suite to get a transparent recording. What about field recording mics or even measure mics ? But those chosen here are at the opposite of the transparency spectrum. Then you feed both into 1073 preamps, those are preamps famous for how nicely they COLOR the sound, not at all transparent. I'm pretty sure Rick have some nice SSL or focusrite preamp he might reach his hand down to if he wanted a transparent recording. But he choose neve clones for a reason. What is shown here is the classical rock studio recording chain, it's not about sounding exactly like how you would hear the amp would you be in the room ! Not at all, it's about getting a classic rock sound. And yes it sound pretty damn good, that's precisely why it became classic !!!!! And moreover this might not even be the best guitar sound if you want just a guitar solo. It's one that is made to sound killer in a mix with a whole rock band. Why does rick use a low frequency rollof on the pre's ? To leave room for the bass guitar and drum bass to breath in a typical rock band mix ! A real electric guitar amp does have some subharmonics under 80Hz, but you don't want them to ruin the rest of the band. And you could go further up the signal chain, the choice of guitars/pickups, the choice of amp, the choice of speaker, ... Every pieces of gear shown here are all famous for the special coloration they bring in, none for transparency. All the gear/processing shown here are nowhere near transparent and that's precisely the point ! Talking about transparent recording in this particular case is totally missing the point !

[@RhettShull]

Hands down my favorite mic combo of all time.

[@AaronBandt]

A $99 mic and a $1300 mic walk into a bar...

[@Shadowz227]

Got stuck together?

[@dakotasymington8353]

The third one ducks

[@jameslamarca7245]

Hey Rick I was a sound tech on tour with a major pop star who had Nuno playing in the band(crazy, I know). We used a 421/57 combination which was pretty awesome, and didn’t have to worry about babying the ribbon mic. We bent a couple z-bars to sit together between the head and the cab, same place every show to eliminate the mic stand fuss(although the 421 clip is a little finicky). The 121/57 combo is what I learned in the studio where I did time and you really can’t match the warmth of the Royer... but I wouldn’t take one out of the studio. Thanks Rick for the awesome stuff- you rock!

[@alandmoore4306]

So for those of us without a fully-stocked mic closet, the takeaway would be to setup a mic with a punchy sound and a mic with a smooth sound, get them in-phase, and blend to taste?

[@RickBeato]

Yes :)

[@kitchinsync]

my solution for the dual mic on one stand is to use a "8"/20cm Dual Speedlite Camera Mount Tripod Bracket Flash Extension Bar,8" Dual Tripod Bracket" I found on Amazon. Simply a flat 8" metal bar with oblong holes allowing for 1/4 or 3/8 mount screws for the mic holder and the center attaches to mic stand. The oblong holes allow sliding to adjust the distance of mics from each other. Usually used for cameras and flash, but works nicely for a two mic, one stand solution.

[@Techn9cian123]

Would love to see a video about Rick Hall and the muscle shoals sound.

[@WillyPDX94]

I would love to see that, too!

[@EclecticHillbilly]

Amen to that............love to see one on the Bakersfield sound, too.

[@gerardgeer642]

For anyone wondering this, there's a 10/10 documentary on it simply called "Muscle Shoals"

[@Techn9cian123]

Gerard Geer it’s one of my favorite documentaries of all time. I’m just wondering if Rick has any stories or cool facts about that period. Or if he met anyone associated with it.

[@recording411]

I went to the premier of the Muscle Shoals film. Both Rick Hall and Jimmy Johnson were there and took questions afterwards. I asked Rick if he compressed and eqed to tape. He talked about compressing the 2 track master mix. He knew the owner of the local radio station. When he would get done mixing a single, Rick would take the mix down to the radio station. His friend would play it over the air for him. Rick would sit in his car and listen to what the station compressor was doing to the mix and then go back and adjust the compression on the master accordingly.

[@SFLogicNinja]

I cannot believe that this clip is a NEW thing. I was like 'WHERE HAVE YOU BEEN ALL MY LIFE". The 121 and SM57 are such a great combo The 121 takes to EQ beautifully!

[@CTLive]

Try a single TUL mic…change your life😮

[@TravisHY]

One of the best guitar tones I ever tracked was with SM57 and a Beyerdynamic M160. Similar to the 121, 57 vibe, but without the figure 8 polar pattern of the 121 picking up the room.

[@thechurchofmusic3665]

I saw Dan Huff play with a band he was in called White Heart back in the 80's. The he really took of with his band Giant. Great player.

[@joebobhenrybob2000]

He was also the guitarist on a lot of Unguarded.

[@anthem3560]

i dug giant way back when

[@recording411]

I went to the premier of the Muscle Shoals film. Both Rick Hall and Jimmy Johnson were there and took questions afterwards. I asked Rick if he compressed and eqed to tape. He talked about compressing the 2 track master mix. He knew the owner of the local radio station. When he would get done mixing a single, Rick would take the mix down to the radio station. His friend would play it over the air for him. Rick would sit in his car and listen to what the station compressor was doing to the mix and then go back and adjust the compression on the master accordingly.

[@dominicsinicrope2795]

Another handy mic clip is the Fredman clip. It holds two 57s one on axis and the other at a 55 degree off axis angle. You can blend to taste. Really great for metal guitars.

[@JohnAdorjan]

May secret to recording guitar is just the SM57 in a standard 10 gallon fish tank. The tank is placed on its side so that it stands tall from the ground. The top of the tank faces and is pushed up close to the amp. Then, on a short desktop mic stand, the 57 faces the bottom of the tank. The tilt angle for the mic has to be pointed to the sweet spot on the bottom glass of the tank. You’ll know where the sweet spot is by listening for it because when you find it, it is so sweet!

[@sandyamaulana2317]

Amazing video! Rick was so lucky to have learned from Dann Huff. Huff is an amazing producer, session guitarist, and of course guitarist of Giant. Watching this video also tells me where the Dann Huff's sound was coming from, and it is an amazing sound.

[@larrycanepa]

Giant's first two albums, Last Of The Runaways and Time To Burn were phenomenal. I have never understood how that band didn't become HUGE.

[@locrianico6843]

4:16 Playing some spirit of radio but we're too scared of copyright demonetization so just strum it out!

[@Andrew_M_Ward]

@@joejoesoft I love this channel so much

[@tisbonus]

Sounded a lot like "Stone In Love" to me.

[@StratMatt777]

"Spirit of Radio" and Aerosmith's "Mama Kin" had a baby - and then the Eagles "Already Gone" showed up at the end.

[@StratMatt777]

@@tisbonus If you are a guitar player, pick up your guitar and play a few quick strums of G, then D, and then the top notes of G, then a full G with the following notes moving around in the bass: C, B (on A string) and G (on the E string). You're playing "Stone In Love"! :)

[@bordershader]

I don't think Rick is scared of demonetisation so much as frustrated.

[@Skypie61]

Here's what I love about Rick, Rhett & Dave when doing these videos, i always learn something...Not worried too much about recording as the frequency is less compared to live gigs. Hate direct to board from amp as your missing the sound of the speaker(s). Btw, both played so clean, so well done...

[@GuitarisGreat1]

Dang this was a really in depth video. Thanks man, always love your content! So helpful

[@florenzolindskovic2335]

I could never imagine that Luke Skywalker's lightsaber sounds that awesome in front of a Hiwatt speaker.

[@MattWilkinsonGuitar]

This one video should be mandatory viewing for recording guitarists. That is the true sound of electric guitar to me. Great overview!

[@NickSwe]

"When I record guitars I always go with the royer"... just like me, because everybody has 1500 euros to buy one... second hand T_T

[@lawrencebarras1655]

I totally dig the mic'ing lesson!!! One little nit, that's actually "polarity" rather than phase. Although it is commonly referred to as phase, when the signal waveform is completely inverted, that's polarity. Phase is more subtle, referring to waveform differences of less than 180-degrees, which introduce a lot of subtle changes, particularly in overtone peaks and valleys. The distances are a lot bigger than most people think. The wavelength of A-440 is 78cm, inversion happens at 39cm. (try it with a point source, sine generator and a dead room!) The fun of mic placement is because these interactions become amazingly complex from a math standpoint and the ear is the best judge of the characters.

[@hansgrueber8169]

Chet Atkins shook the change in his pocket and said,"...that's the sound of Nashville..$$$."

[@TheChadPad]

Basically broke?

[@charliedavis8447]

@@TheChadPad I thought he meant it as in the sound of money (rich)... I would imagine Chet would be pretty damn wealthy with all his accolades and involvement in so many projects/productions

[@EclecticHillbilly]

@@charliedavis8447 You're correct, that's exactly what Chet meant. He said various different versions of the same thing. In an interview he once said, "It was the sound of money" but I also heard him say one time that maybe he took "the polish" a little too far on those records.

[@stevenolsen3162]

🤣

[@frappachinose4200]

My band and I make music , it’s surf rock and other kinds of stuff check it out

[@4602experience]

Why not mic two separate speakers?

[@f.hounderclay1368]

The capsule in the Royer is in the middle, along the flange, while in the 57, it's in the bottom of the cap, about 3/4" from the tip. As such, to avoid the slightest phase issue, they should line up, leaving the Shure sticking out ahead of the 121 a little bit. Or so I'm told.

[@RickBeato]

Who told you that? I guess they’ve never taken a mic apart.

[@f.hounderclay1368]

@@RickBeato Rick, it was in a Shawn Tubbs video where he uses both mics to record an amp. It seems credible. Are you saying the capsule is at the top of the 57? You obviously didn't have any phase issues either way.

[@EricJaegerMusic]

Hey! I have an sm57 already and love it but that duo mic sounds great let me go on amazon and order one! *sees $1.150*... T_T im goin to bed..

[@GioGuitarDude]

I did the same thing... but then I found the Royer R10. It’s easily just as good, just a slightly different sound. I would highly recommend that one for $500

[@Christian.Means.]

Same... Literally.. Haha

[@vidtrax662]

Rick, you're amazing. You've covered so much in the music industry. Thank you and appreciated.

[@walkawaysmike]

Rhett is such a killer guitar player. Love that dude.

[@carpediemarts705]

Vid is effectively a display of the mic clip and a couple popular mic models but brings up a topic that needs a lot more Rick Beato type discussion. Phasing of micing. I know a lot of what made Queen's sound was micing specific to the distance of the mic placements from the cone as well as the in and out of phase pickup selections on May's unique guitar. Ive seen an article about the May guitar but really don't understand clearly what is going on. In this vid you play 2 different musicians on 2 different guitars and play the recordings through the computer interface and the best I can say is that they sound different, maybe U like one better than the other due to my taste. But to understand phasing is a rich topic that a much longer Beato vid could expound on that could totally elevate listeners and musicians' grasp on tone and the capacity of making the sound they want. Effects pedals, micing, a listeners placement in a venue, a group of musicians such as a marching band spread out on a field. Its a huge topic and can make the difference between something sounding magical or muddy.

[@RickBeato]

Search my cannel for a video called PHASE. I've already done it for people that don't mind sliding a mouse a couple of inches. Can you at least do a simple search of the term PHASE on my channel before posting a comment like this???? here you go kzbin.info/www/bejne/gZ-bo6mZhNmgjNE

[@tonedowne]

The best guitar cab mic combination that I have heard is the 121 with a 47. The 57 sounded awesome on the tele in the clip, but what it did to the Les Paul is add the muddy yet fizzy sound that I don't like.

[@pastorkev777]

I have a old stereo Electret Condesner mic by Realistic that is powered by 1 AA battery. It is a cool and unique sound and helps avoid the phase issues.

[@MetalHeadHippie]

I cant wait till you get a Million Subs. You Deserve It. Thanks Rick.

[@BradyA1124]

So, like, Rick discusses guitar recording techniques, favoring the Shure SM57, Sennheiser 421, and Royer 121. He showcases the Royer 121 and SM57 combination, highlighting their complementary roles. The Royer 121 captures the guitar's midrange accuracy, while the SM57 adds top-end bite. Rick demonstrates their individual and combined recordings, emphasizing phase coherence. He introduces a new mic clip for simplified setup. This combination retains the guitar's essence while capturing its unique character and is widely favored in the industry for its practicality.

[@scottleacox7516]

I have been using a moving coil, Ribbon and LDC tube blend for years. The 121 is the best ribbon for guitar cab, but any ribbon will do in a pinch. I add an LDC tube all the way across the room to use as a real reverb to be available in the mix. Track 3 times. 9 tracks total. Come mix time, pick two takes and two mics each take. For those who cant afford a 121, lower cost alternative are the RM5 ($350) and TMC-ACM3($150) that are the same general design of a ribbon mic. I don't own a 121, so I pick from the ribbons I have. Tend to use 4038 unless those are tied up as drum overheads. In that case I use a Velo8t or RM5. The TMC mic's are not best, but they also don't cost much.

[@TheNocturnalEvil]

Try the sE Electronics VR1, it works better for modern metal mixes than the Royer R121.

[@jloren5662]

Before anyone rushes out and buys the royer (a great mic that is often sought in matched pairs) please read up on ribbon mics and safe handling as they are different and delicate in some ways.

[@ArcadeMusicTribute]

"at the end of the day 57 always wins" - Gary Holt XD

[@dewinchy]

Rick heard about this around 2009, which was back then already the default how they mic guitars. So this problem is maybe 20 years old. But now, engineers answered the problem with a high tech clip. Just wow ;)

[@royferntorp3575]

As much as I agree with all this, I really like the Sennheiser 609 and a Rode MT-1a on guitar. I used to 57's and and Nuemann stuff. The 609 doesn't even need eq's.

[@charleshoernemann8661]

I concur! I recently purchased the Sennheiser e906. Its flat shape makes it ideal for miking amp faces (like the 609) plus it has a 3 position switchable sound character: bright, normal, dark. Sorry, but I had to send the SM57 into retirement... 😉

[@lolaa2200]

SM57 is the standard, it's the place to start. But it doesn't have to be the place to stop. Although i would always recommend someone starting from the ground to start with a 57. First learn the rules then break the rules.

[@SeanKerns]

And thanks for soling the tracks, so we could hear what each mic was bringing.

[@tjancijr]

Just got my first 121. Couldn't wait to try it on my Deluxe with a 57 and it did not disappoint.

[@jasonstallworth]

Dude, just hearing these raw tones with miked up amps sound awesome (as opposed to all the amp sims/plugins we now have) - it's just a refreshing sound and tone

[@billbrunson1326]

Sounds great, and very practical. Option 2 (less practical, but also sounds great): put the amps in a soundproof room alone with strategically placed mics around at various distances - mix the mics then overdrive the amps naturally instead of using a drive channel..............sounds fantastic, but takes a lot of time and gear to setup. Fun if you like a raw, truly "overdriven" amp sound though.

[@SpartanLaserCanon]

For home use with bigger amps, I recommend a volume pedal. A good volume pedal will keep your tone the same, but at lower volumes. Now that I found out how much volume can be reduced with one, I am no longer scared of how loud a bigger tube amp will be in my house. I will use a 2x12 Cab which is all you need for only small and medium sized gigs and if you are on a mic at bigger shows than you will be able to get enough volume anyways plus if you are too loud to fit well in a live mix than a volume pedal can help you not sound too loud. As to 4x12s sounding fuller, in a band mix I don't want too much bass anyways.

[@jon.wilson]

Rick and Rhett, the dream team

[@BeauJeffers]

I don't have a 121, but I've been doing this with an AEA R84 and 57 and get great results. A little trick that sounds good to me is AEA on the perimeter of speaker at a 45 degree angle back towards the cone and 57 right next to it straight the speaker. Blend levels instead of EQ.

[@danilobriz8499]

that's amazing, i didn't know about the tradition of these mics used together but the 57 and 121 are the exactly combination i've used in my amp simulator (Amplitube) for years now just because they sound very good, ...i guess that's a point to the software engineers though.

[@songbirdtroy]

Well I got the 57 part of the process right - I mic'd up both speakers of my amp, a 57 on the bottom right speaker and a Beta 58a on the top left speaker and when I put them together it sounded like HOLY FIRE. Now I know I need a 121 for my next album, this sounds crazy good

[@JohnBohn]

Next time you try it, you should try turning the 121 around. The backside of the 121 is a touch brighter and it works really well on electrics.

[@carmineanastasio]

More recent “Nashville Sound” album: Dan Auerbach’s “Waiting on a Song.” If you haven’t listened to yet, give it a chance. Thanks Rick...great video from a fellow New Yorker.

[@volvo240maniac]

And the musicians on that record..wow...

[@flamencoprof]

03:11 By the time you get up to 15kHz, the wavelength is only about 2cm, so it makes sense to get the two mic's diaphragms (or however they work) to be placed within that distance tolerance from the source to keep their outputs reasonably in phase at the high end. I liked that zoom practically to sample level that showed how in-phase the two mics were. I know the theory, but I have only one crappy mic :-) It is interesting to hear how you can use the subtleties of where the mics are in relation to the speaker cone, but where does that leave the venue listener 20 feet (6m) from it, and hearing the phase mix from the other three of a quad box? The 4x 12" speakers are, at 1Khz, messy distances apart for a wavelength of 13.5" (34cm), particularly if the listener is off-axis. Ah, the richness of the live venue!

[@setheinsteiner2980]

"There are three mics guitarists mainly use." Oh, come on, what about the Sennheiser E609??????

[@Martinbeef]

or the e840

[@Sonnivate]

609's hypercardioid is better for live applications. Def still a good mic, but a 57 cuts more

[@esteban.r11]

I thought this was gonna be about the Nashville tuning! Have you ever experimented with that Rick? Great video either way!

[@allancrow134]

Same here. :)

[@1zymn1]

I believe he did a video on that a couple weeks ago.

[@BJamin4God]

Same :)

[@jamlemon]

Me too.

[@WileyKRobertson]

I can imagine how much studio musicians in Nashville have to modify and reject so many riffs to avoid sounding similar to something we already know.

[@lesliethomas2081]

Hi, Rick thanks for the info.but as anyone ever says that you need to go out training sometimes it helps with everything, look better feel better think better, more energy and don't worry we all respect you the most, thanks again.

[@jimmiefarmer3022]

I bought one of the new Royer R-10s because it is half the price of the 121 yet gets pretty close to the 121 tone wise (in my opinion). I record all my electric guitars pretty much exactly like you demonstrated, though: R-10 and a 57 through a 1073 clone (Warm Audio WA-273). I sure hope Royer makes a similar clip for the R-10, because the two stand struggle is real!

[@decadepasts]

I use Focusrite Control to route my first two outputs through my third output, which feeds into my reamp box. I use the output preset in Focusrite Control called System Playback. This way I'm able to channel my stems through my reamp box but the problem is that I have to solo the stem Channel in Reaper and mute the monitor in my miced channels, otherwise the entire mix comes out of the reamp box and out of my speakers.

[@bbking0064]

An interview with Dann Huff as a guitarist would be great!!!

[@tacohitman4003]

Reverse Friedman. The go-to. A great thing to do is sit there in the live room with a headphone mixer and move the mics as the guy is playing.

[@johnsguitarmusicanddemos]

You’re the man to go to for a video like this so when I did a search in your video came up in the results, this is the first video I watched.

[@duck2587]

The royer on the tele alone sounds so good

[@ianburton5624]

That was amazing to see and hear. I love the reproduction of the ribbon mikes. It would be interesting to see how little a difference in positioning between the mikes affects the phase difference. BTW, I bought the Beato book the other day, it's going to take me a long way, thanks Rick.

[@CayenneTravels]

I use an SM57 nearly touching the speaker, and an AT4047 backed off about 1 foot. I pan them full left and full right, then I double it and pan the 2nd track opposite. It gives a huge stereo feild to the guitars, but the 57 keeps the presence and clarity.

[@RickBeato]

An totally out of phase.

[@CayenneTravels]

@@RickBeato sometimes, yes, if the sounds are identical, I get some cancellation that cause a horrible 80's 'guitar recorded in a tube' sound. It take a bit of work to get the phase to work right.

[@richb313]

That Mic Clip is Genius but so simple you have to ask yourself why hadn't it been done before. It is not as if a dual mic set up is unheard of. As a future idea for a topic just how under appreciated Shure Mics have been lately. Just the SM 57 and 58 alone are worth a mention for live work. Condensers are great but are also Feedback Machines in a lot of live set ups. I don't record sound but I do help out with the Sound at Church when they get over their head with things like Mixer Repair, New Cables and Connectors, Getting rid of 60 cycle hum etc. Love your videos they are Great, Keep Em Coming. Thanks a lot.

[@cruxdeluxx]

Awesome videos dude! Always look forward to a new one

[@stephaneaudet]

Yes guys , this combination are excellent and for me it's Beyer Dynamic M-160 + Shure 57

[@TheNocturnalEvil]

The Beyerdynamic M160 + pre-neodymium era Sennheiser MD421 used to be the British music industry standard.

[@stephaneaudet]

@@TheNocturnalEvil It's very good to know.Thank you.

[@Dreyno]

The Royer sounds lovely. The combo is great.

[@cherrypickerguitars]

Just wanted to say how much I’m enjoying this channel! You’re doing a great job and providing a great service. I’m s late comer and found you just recently through 5 Watt World. I’m a handful of years older than you, Rick, and can really relate to all of your stories and memories of the music biz ! You’ve put me in nostalgia mode. I’ve had the wonderful experience to have worked with some amazing fellow Canadian producers and at some of this country’s best studios, back in the day - Jack Richardson, Bob Ezrin at Nimbus Nine, Thunder Sound, Morgan Earl, all near the “beginning” of things, and Alex Fraser and Ben Richardson (no relation) at Liquid Sound and even Garth Richardson (Jack’s son!) live at festivals, all near the “end” of things. I stopped recording for $ about three yrs after Pro Tools became ubiquitous. Loving your posts! And look forward to my bell ringing! Peace

[@db9091]

This is the Beato I like. No bs, no belaying, get right to it!

[@humbuckercafe]

This is THE SOUND! Thanks and all the best from Poland! Mike

[@thechurchofmusic3665]

To me the Nashville sound is a Fender tele into a Deluxe RV with a pinch of verb and a compressor.

[@SimpleManGuitars1973]

Yeah me too. It would have been cool to have someone who can truly chickenpick on the video to get the true "country" sound. Maybe Brent Mason was busy. LOL!

[@RickBeato]

@@SimpleManGuitars1973 You guys are 20 years behind the times.

[@SimpleManGuitars1973]

@@RickBeato But when you think "Nashville" don't you think of a Tele and Chicken Pickin'? I'm from East TN so that's what I think. I think the production value of modern Nashville is great but it's the "classic" sound that's always in my head when I think of Nashville and I'd LOVE to see a vid on how guys like Brent Mason, Vince Gill, Brad Paisley, and Albert Lee get that "twangy" sound. Out of curiosity, have you ever produced any sorta "classic" Tele type players? Seems like most of the bro country and pop country on the radio today is all played through Triple Recs with Humbuckers or something.

[@DaveMcLain]

I feel that your choice of speaker and cabinet makes a great difference too. In my experience my best cabinet for recording is a home built 2x12 with some low wattage Eminence speakers from about 25 years ago. It sounds great through a mic and better than my 4x12's when powered by a 50 watt Marshall, Hiwatt or Fender Twin Reverb. I think that having a light speaker that can move a lot as well as having only 2 makes it easier to get a "real" sound.

[@lolaa2200]

"low wattage speakers" i think that's the whole point here. In guitar signal chain the speaker serve two purpose : frequency filtering (i.e. cutting off high's) and compression. The more you push the speaker toward it's limits the more it compress (but too much it blows so be careful here). With a 4x12 V30 cab your power headroom is 4x60w so it's 240W So if you want to push it into compression you have to get withing this region. A tube amp can push more than it's rating for few milliseconds on transients and the actual wattage is usually bit higher than stated when using modern tubes (that's why people say a 100w tube amp worth a 200w solide state). Bu yet you'd have to make push a 100w head full blown to really push that 4x12 into compression. With a 50w head it just won't append. By using a 2x12 you halve the cab's power headroom so it's now possible to make it compress but only when pushing your 50w head full throttle. Using lower wattage speaker allows you to push them into compression much easily so if that's the sound you are after that's a better solution. That's part of the secret of the old plexy sound. Early 1960 cab used celestion G12M that where rated 20w each, that's why you needed two 4x12 cab to cope with a 100w head (1960 is the part number not the year, the plexy superleed amp was 1959 ...). Then you only had 160w of cab power headroom. They were crushed hard (actualy blowed frequently, that's why they later came with V30 instead for reliabillity). For studio application you might want to conciser using reissued oldschool G12M. Unless your neighbourg are kind enought to let you crush a V30 4x12 with a 100w tube head, you'd be happier with lower wattage and less speaker. Just my 2cts...

[@thedondeluxe6941]

And the most important thing of all; a Telecaster :-)

[@thedondeluxe6941]

Same here! I have two, actually. One semi-acoustic, one regular :-)

[@thedondeluxe6941]

I can only imagine. Glad you found one!

[@adammarshall80]

Hands down my favorite youtube musician combination. Add Tim Pierce for the heavenly trifecta!

[@randallnielson2011]

Great thing about your videos is that there are terrific little and terrific major lessons to learn. I’ve been screwing mic holders onto the boom of the mic by twisting the mic holder around like a mental patient - for years. Until this video it never occurred to me to loosen the fricking boom and twist the boom into the mic holder that’s in my hand. Don’t know if that’s a credit to you or an insult to me. Maybe both? You’re a blues, Rick, you’re a blues!

[@felixdorn21]

Got the Combo and the Clip - tried it this morning - as you said: KILLER! Thx for this great content of yours 🔥👍🏻🤟 always a pleasure to watch and a lot to learn!

[@OzzMazz]

For me, I use the plug-In Amplitube 4. Most happy with the results. Number one feature: It's clean.

[@willywayne5299]

i've recorded with pedal direct to sonic box to computer and it sounded great, but the pro's always have a pro way to do it,that dual stand is pretty cool!!

[@lynyrddeville]

I thought this vid would be about the same 4 chord progression that virtually every song out of Nashville pretty much about 80% of the time the last few years. Added to the autotuned/vocaligned background vocals that are sounding like a blaring horn of semi human voices and you truly have a sound that I would describe as " s@#$ stew". On another note, Rhett, nice playing, real real nice. Also, the sound of Hiwatt is absolute greatness here. I sure regret selling mine.

[@wesmatron]

I genuinely love your channel, bro... even though it sometimes feels like I'm getting lesson from a mobster!

[@WilliamTanaka]

He will give you a lesson that you can't refuse

[@jghillstudio1857]

Hey Dave rocking the Thin Lizzy T shirt. Yes I am old school rocker. Thanks for showing us the Nashville guitar sound. Pure genius on the two mic holder. 👍 Unlike some things you buy at the store, you wonder how the heck it ever made it into production.

[@undercrackers56]

I didn't realise it was an advertisement. I thought it was a tutorial.

[@7rays]

So far over my head… But as always, immensely enjoyable. Thank you!

[@MSDOS128]

Instantly clicked on the thumbnail as soon as I've spotted it on a main page, thanks for the showcase!

[@mattjoe1982]

Rick, you should try Telefunken M80 in place of the 57, with the 121...

[@lolaa2200]

57 is the standard, the standard is not supposed to be the best it's supposed to be good enought in any situation and that's what the 57 is all about.

[@mrkrunch4340]

More videos on recording/production techniques please! Much appreciated!

[@bobcatstillwell4844]

Loved the guitarist's playing, riff, and groove. I can tell he can rock!

[@winterjps]

Here I was thinking Nashville tuning

[@jasyynnoe8392]

We need more!! Use the 421, do more combos, throw a condenser or 2 in there, distance and close mic! Please Rick, I'm taking notes.

[@stephenshaw2548]

Hey there Rick I don't understand why you need a double mic holder Use 2 stands on 2. different speakers You have 4 to choose from Love your channel by the way You made everything fall in to place when you talked about Pro tools And why does modern music sound not like music anymore Thanks for your videos Rick

[@joemkoenen]

Great information Rick and Rhett...I have a Shure 57 for recording guitar..."live"...from the amp...the other mics are pretty spendy for a "weekend warrior"...great to see Dave get in there and get it done...I am old school...and so much enjoy learning things from yous guys...cheers!

[@mpasistasyalanci]

nice combination, i didnt have the oportunity to use a Royer but one combination i love is the sm57 with a akg 414 maybe a more aggressive setup but it cuts nice in the mix

[@gopro2804]

Hi Rick. Maybe you could do a video on what makes a band unique and recognisable. What is it about their style or sound that can make you identify a song as being theirs if you never heard it before. Also how to mimic a particular bands style and sound. Thanks.

[@jasper_north]

Love the K&M stands

[@karltraunmuller7048]

Hell yeah, Hiwatt

[@daviddavis9835]

I do the same thing with a 57 and a SE VR1. Sounds fantastic.

[@lolaa2200]

actually the VR's are more voiced toward old RCA ribon mics, the SE X1R while lesser overall quality mic(thought not a bad one) is more closely voiced to the r121 so it would be a better choice if you only get it for guitar recording.

[@honorthedead]

I see what you mean sir. But for me, I think hearing the same riffs on the different examples would have helped a little more. But I can hear what you mean. Thank you for sharing this 🙏

[@jtmchannel7640]

The P90 LP track was giving me serious Joe Walsh vibes! Sounds great.

[@WheelieMix]

Classic technique that always work great ! Although I tend to prefer sound with more "room" ambiance, mic that are few feet away from the cab. Back in the days it was risky doing this because of the phase alignment. But nowadays with Pro Tools you can easily align the phase with Time Adjuster and get superb tones, with nice room sounds (if you are doing everything by yourself). The more room sounds, the less harsh the transients (and high-mid) are :). Also the more "room sounds", the harder it is to emulate the sound with software, so the more unique it is gonna sound !

[@markranalli4994]

That Les Paul sound kills. I had Dave put a classic 57 in my LP. Now I wish I went with P90s. FYI, Jens Larson gives you a shout out in his new C7 chord video.

[@conradkritzberger8980]

That's SWEET, Rick !! -- 'New' Mic Clip: Great ! -- You taught me something new. ( I'm an extreme novice, so that's easy. ) Your having the two guitarists/guitars... highlighted the differences "created" by the pickups. I have an old ES-125 with a P-90 (and two Basses.) I've always loved the warm/smooth tones of the P-90, but this demonstration really brought it home to me. Thank you, Sir !!