Guitar Sound Mp3 !!BETTER!! Download

I am wondering if someone can help me get a good guitar sound - I am currently using Ableton Live Lite 11 and just struggling to get a decent sound. I get this weird fuzzy sound... the order of amps to cab is :

Yes. Since a space station typically contains regular air at normal pressure in order to keep the humans comfortable, the sounds created by playing a guitar will be the same as on earth. The weightless environment inside a space station has no effect on the guitar's ability to create sound. Sound is created by the strings and body of a guitar when they vibrate quickly after being plucked. These vibrations knock against the air, causing the air to vibrate quickly, which we humans experience as sound. The guitar strings vibrate back and forth so quickly when plucked because of a tug-of-war between two effects: the tension in the string and the inertia of the string.

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Assume that the sound created by a guitar string is a single pitch. It really isn't, but this is a good enough approximation for our purposes. Applying the concepts mentioned above, we see that the pitch of the sound that is generated depends on the string's length L, the string's total mass M, and the string's tension T. Scientifically, what we call the pitch of a sound is actually its frequency of vibration, i.e. its number of vibrations per second. A string with a higher tension will snap back more quickly toward the straight shape and thus complete more cycles of vibration each second. For this reason, we can conclude that the sound's frequency is proportional to the string's tension. Also, a string with more mass will have more inertia. It will therefore overshoot the straight shape more and require more time to be pulled back toward the straight shape. Therefore, we conclude that the frequency is inversely proportional to the string's mass. Lastly, a longer stringer is more able to be deformed, and thus will take longer to return to the straight shape. Therefore, we conclude that the frequency is inversely proportional to the length of the string. Assembling these conclusions, we should expect the frequency of the sound created by a guitar string to be proportional to T/LM. In fact, the frequency obeys the equation f2 = T/4LM.

Notice that no where in this equation does gravity ever come into play. Therefore, the sound produced by a guitar string sounds the same no matter how strong gravity is (as long as gravity is not so strong as to break or damage the string). I said that the vibrating string is continually trying to return to the straight shape. This is not strictly true. More accurately, a vibrating string is continually trying to return to its equilibrium state. For a string on a guitar, its equilibrium state is effectively a straight shape. In contrast, for a heavy power line strung between two poles, its equilibrium state is a downward drooping arch. The power line can indeed vibrate and create sound, just like a guitar string, but it will not vibrate back and forth around a straight shape. It will vibrate back and forth around its drooping-arch equilibrium state. Gravity does affect the equilibrium state of the wire. But since sound is created by the wire vibrating around its equilibrium state, gravity does not affect the wire's ability to create sound (aside from the fact that it may contribute a little bit of tension to a heavy wire).

Note that, strictly speaking, there is plenty of gravity on a space station in orbit. The astronauts on a space station float around because they are in a continual state of free-fall along with the space station, and not because there is no gravity. You could call this a lack of apparent gravity. In any case, neither true gravity nor apparent gravity have any effect on a guitar string's ability to create sound. Something that does have an effect is air. Sound can only travel from the strings and body of the guitar to a human's ears if there is some air along the way for the sound to travel through. In the vacuum of space, there is effectively zero air. For this reason, sound cannot travel through space. In other words, if an astronaut leaves his air-filled space station and takes his guitar out into space on a spacewalk, another astronaut will not be able to hear the guitar as he plays is. The guitar strings will still vibrate just fine when plucked. But there is no air to transmit the sound from the strings and guitar body to the ears of the other astronauts. The astronaut who is playing the guitar will be able to hear it, since the vibrations can travel directly from the guitar body through his body to his ears without ever needing to go through the air. But to everyone else, a guitar plucked in open space produces no sound. Again, this has nothing to do with a lack of gravity, but is a result of the lack of air.

Every engineer has their own idea of what a great sound is, so there's no point trying to tell you which is the 'best' technique: it's far more important to know how different factors in the recording and mixing process can affect the final timbre, so that you can find what you personally are looking for.

One of the principal challenges when recording a given acoustic guitar is to capture a good balance of the different noises it produces. While there's a lot that you can do to modify the sound of the instrument itself, there's also much that can be achieved via careful mic positioning, so it pays to be aware of a few general principles governing the instrument's unique dispersion characteristics.

To state the obvious for a moment, it should be clear that the guitar's body resonates but, crucially, it does this in two main ways: not only do the wooden panels themselves vibrate, but also the body of air that's contained within them. While the panel resonances affect the character of the instrument's sound in extremely complex ways, the impact of the air resonance is a bit simpler, primarily just improving projection and sustain in the guitar's low registers.

Another set of fairly rewarding locations can be found along an arc to the right of the player, centred on the instrument's bridge, particularly where fret noise is more of a concern (for example, if the guitarist is softly finger-picking), as the mic is then placed further away from the source of the unwanted sound. Again, positions above and below the guitar tend to produce the most promising sounds, by avoiding the player's acoustic shadow, and it makes sense to have the mic slightly forward of the plane of the instrument for similar reasons.

By the same token, it makes sense to try to keep the player in as consistent a position as possible both during and between takes. Otherwise, you may find your sound phasing slightly as the distances between the mics and the performer vary. A bit of gaffer tape on the floor can help, by marking the positions of the player's chair and/or feet, but if the player moves around a lot during their performance, there's only so much you can do here. This is another reason why using a second mic in a more subsidiary role makes sense, because any comb filtering will be at its worst if you have both mics at the same level.

From a mixing perspective, there are a few crucial variables to consider with electric guitars. Firstly, how much low mid-range do you give to the guitars, in comparison with how much you give to all the other instruments in the arrangement? If you want your guitars to seem fat and full, then you should consider scooping out a good deal of that spectral region from the bass guitar, for instance. That way, you can give the guitars plenty of low mids without overburdening the mix as a whole with those frequencies. Another thing many people don't realise is that what they're hearing as 'guitar' within a combined bass-plus-guitars texture is actually coming from mid-range bass-guitar distortion components. The thing with distorted bass tones is that the distortion harmonics remain comparatively musical even at high gain, because the instrument only usually plays one note at a time. Electric guitar chords, on the other hand, can quickly dissolve into tuneless shred when distorted. So if you want more aggression from the overall guitar texture in your rock track, but without compromising clarity, then try adding distortion to the bass rather than the guitars.

The 2-4 kHz region can be a bit of a mixdown battle zone as well, because it gives the guitars their 'bite', but is also a critical frequency range for vocals, snare, cymbals, and many synths. Personally, I'd suggest trying to cut as much 2-4 kHz out of the cymbals as possible, because otherwise they can mask other tracks so strongly that by the time you've faded your guitars up so you can hear them, the mix sounds harsh overall. Another dodge is to use a side-chain triggered ducker to pull down the level of the guitars whenever the vocalist is singing.

Which brings me to my final guitar-mixing tip. Because overdriven guitars inherently have less dynamics than other instruments, they don't adjust their balance to changes in the arrangement very much, and this is where level automation can really help out, riding up those musical moments that are important, and riding down those that aren't. So you might have the guitars lower in the mix during vocal sections to avoid masking the lyrics, but then turn them up for the monster riffs! I'm also a big fan of giving each new guitar entry its own little momentary automation push, just for the first couple of beats it plays. This makes the listener feel that the guitar's really powerful when it first arrives (because it really is a bit too loud!), but by the time they've formulated the thought that it might be out of balance, it's already moved back to a more sensible mix level. It's a classic piece of mixing sleight-of-hand, and something I use all the time!

The kick also has a 40hz trigger too. - you might want to add that in for using ducking with the bass guitar in its sidechain. but also they have a "click" in the bass drum to compliment the timing of the guitar, im guessing around 600 hz to once again make the guitars a bit bigger in chorus. 2351a5e196