The other thread I started has the basic goal I'm trying to accomplish, but this more of separate (albeit related) topic.
My G-Force has excellent stereo effects which is why I tend to want to record in stereo. However, since I'm resetting everything back up, I'm reconsidering things. How do you guys record your guitars? Is it usually mono with effects added after the fact? Do you even use stereo effects?
In other words, should my stereo effects only be used in line when doing something live? And, can my G-Force be used as outboard gear for a previously recorded mono track?
Instead of making things work, I'd like to understand how things should be done first. Needless to say I can't afford separate units for live vs. studio work so I'll have to use the G-Force for most of the effects.
Any comments or suggestions in this area are appreciated! :)
Recording in stereo is generally a no-no in my way of thinking, the same with recording wet (with fx). The execptions I make for fx are things like wah, whammy, compressor pedal on clean parts, etc... Where the effect is a major component of the performance....
The reason it is a no-no to me is that you are locked in to keeping what you record with, and by the time you start mixing things you may not like what you have... Also having *everything* stereo is a bad idea, you want to be able to place your sounds within the stereo field. Adding the stereo fx afterwards lets you control the placement of pretty much everything. Modulation fx are generally used in your tracks fx bin, whereas delays and verbs are generally out on aux busses so you can 1) share the same sound on all the appropriate tracks and 2) conserve resources by using the minimal amount of CPU you need.
most recording software allows you to have external inserts for outboard fx units, and even if not you can work around it usually, so depending on your setup (use your Layla's spdif!) you could use the cool fx from your G-Force after the fact - on an aux buss - there's likely a global setting on it somewhere for whether the unit should output any of the dry signal (your guitar in this case) in this situation, you would be using no direct signal in the output, just the effect, as opposed to a rack/live situation where your entire signal is going on thru to the power amp. Hope that makes sense.
It does - thanks!
What you're describing is why I used to send both a stereo feed AND a mono dry feed (your standard, amaturish approach! ::) ).
A better approach (once I can figure out just how to do it) would be to use the stereo feed to the power amp and cabs and just record the dry mono feed (perhaps with a wet mono feed when using the effects you mention). Then use the G-Force after-the-fact as an outboard effects unit. Obviously it would be easier if I could afford something like an Eventide dedicated just for recording use and leave my G-Force for live playing around, but I'll see if I can come up with a way to wire the G-Force both ways (maybe using the spdif like you recommend and just changing the I/O in the system settings on the G-Force).
Now you've got me wondering how to control inputs to the G-Force. I think hearing yourself with the effects always helps you play better even if you're not recording the effects. My goal, if possible, is to set up my gear as flexible as possible so I can do multiple things without a lot of cable swapping
Paul, covered it well, so I want state again,
But to answer your question for me personally, yes Mono and dry, except for FX that goes before the amp.
However, there really isn't any hard fast rules, alot of stuff is recorded with FX, and some in stereo, but recording in stereo in a multitrack situation is discouraged as Paul mentioned.
Thanks for the replies! :)
I always record guitar mics in mono. Stereo fx can be added later. I am a little bewildered by your setup and it's hard to follow what you are doing exactly, but I am way into simplicity. On a feature track (say if there is one major lead or "interest" guitar track, I record:
1 mono SM57/Beta57/AKGC330, or equivalent.
1 mono ribbon mic.
1 mono DI.
The DI is a new track we've been taking for about a year. With Pod Farm, and with the ability to reamp through any of several amps, we find the DI to be absolutely the best "safety" ever. That way if everything about the song changes, the sound is totally flexible.