From the course: Real Recording School Weekly
Tracking one guitar with two amps: Ground hum - Pro Tools Tutorial
From the course: Real Recording School Weekly
Tracking one guitar with two amps: Ground hum
- [Instructor] In the studio, sometimes we will use two guitar amps sharing the signal from a single guitar in order to get bigger tones, or to get a wider stereo sound. I have two other videos covering aspects of how to split the signal, plus how to deal with polarity and phase issues. But in this one, we'll cover ground hum issues when splitting the guitar signal between two amps, and how to solve those problems. For our examples, I recorded a guitar split via a Little Labs PCP-buffering splitting device, and via a simple jump ring between two guitar amp inputs. Both situations present different ground loop scenarios, where amps are sharing grounds and causing extra hum to occur. Our first example is the PCP splitter with no earth lift engaged. I have all the levels boosted to the maximum in this session, so we can hear the hum. (electrical humming) Note that you have different hum coming from the left and the right channels. Those are the two amps and the way that they are affected by the ground loop situations. Zooming in, you can see the audio on these tracks. It's there. (laughs) Listen closely, you can hear some definite low hum. (electrical humming) Next I lifted the shared ground from the amp on the right by depressing the earth switch. And here's what it sounds like lifted. (quieter electrical humming) Compare that to the previous, not lifted. (electrical humming) You can obviously see that the audio on the right side amp gets quieter. and the hum gets quieter. And there are some rather random background sounds as always. (laughs) So then I set the PCP switch back where it was and tried another trick. These little ground adapters can be used to lift the ground of a guitar amp. They can be dangerous if done incorrectly, so if you have any worries or concerns, never try this. It is best to use a volt meter to see if any of the cables, guitar, or amps have a voltage difference that could harm the user. In this first example, I have treated the guitar amp on the right with one of the ground adapters. (electrical humming) On the second, I treated the guitar amp on the left with the ground adapter. (electrical humming) If you're getting the feeling that this is a moving target, you're correct. Let's go back to the initial with no lift. (electrical humming) And using the PCP to lift on the right. (quieter electrical humming) That's again, guitar amp lifted on the right side, (electrical humming) guitar amp lifted on the left. (electrical humming) We're hearing a lot of different things there. You can also try the ground switches built into some guitar amplifiers. Not all have them, and many times I find them ineffective for some reason. Here I tried the amp on the left's ground switch when I had both amps jumpered together to split the guitar sound. And here it is jumpered. (electrical humming) And then here it is using the ground lift on the amp on the left, the switch on the back. (electrical humming) So it does change. (electrical humming) The frequencies change, the amount of noise changes. Once again, a moving target. If you look at these examples in spectral view, it's easier to see what is going on. The bottom line that we see down here is always the 60 hertz hum coming from the AC power from the walls. Hard to hear on most stereo systems, or headphones even. Very, very low. But all the other lines that we see are harmonics that are created above the 60 hertz, at 120 hertz, and above that, at 240, and those are more audible. But then above that are further harmonics and noise. Very quiet, very hard to hear. (laughs) I boosted this as much as I could. And the different examples, these are all taken from the Pro Tools session we were looking at earlier, and you can see that there is a constantly moving target of low hum and high noises. I'm just gonna skip through them here. Very quiet. In this example here, you get more on the left side. So you can see that eliminating hum when using two amps is important. And these ground loops and the different amps and the situations between them will cause audible problems. In my experience, like I've said before, it's always a moving target, and different amps, stomp boxes, and others will generate different hum situations. Use all these ideas as a starting point, and clean up your guitars so you can just hear the music.
Contents
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Fixing clicky electric bass6m 15s
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Finding kick drum articulation5m 30s
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Identifying bad drum edits6m 50s
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How small rooms affect drums5m 31s
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Dealing with snare drum ring8m 57s
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Taming hi-hat bleed6m 49s
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Stopping hollow kick drum sounds4m 29s
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Taming boomy acoustic guitars3m 29s
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Fixing boomy upright bass4m 44s
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Mid/Side or XY drum mics?4m 51s
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Problems with multiple mics on guitar amps5m 34s
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Too much room sound on the vocals4m 14s
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Vocals with proximity problems7m 12s
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Vocals with close reflections6m 15s
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Snare compression6m 29s
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Clicky upright bass4m 44s
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Identifying bad vocal edits6m 45s
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Different overhead drum mics4m 30s
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EQing overhead drum mics2m 23s
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Drum room ribbon mic angle2m 27s
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Connect the vocal notes1m 38s
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Bass in higher registers1m 28s
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Adjusting bass definition5m 7s
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Drum overheads or front-of-kit mics?4m 32s
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How to end vocal phrases2m 11s
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Listening to different snare mics4m 4s
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Drum bleed on toms with different mics6m 32s
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Damping snare by hand during tracking2m 43s
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How to support long vocal notes2m 9s
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Two bass amp mics to audition3m 2s
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Damping drum ambience or not?5m 38s
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Roving microphones on drums6m 6s
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Stereo vs. mono drum overhead mics4m 45s
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Cardioid or omni mono drum overhead mics3m 48s
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Blumlein vs. X/Y drum room sounds4m 9s
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Quick tip on recording snare drum3m 7s
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Drum overhead compression4m 4s
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Omni or cardioid drum room mics?2m 52s
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Do different kick drum sizes matter?5m 42s
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One electric guitar tracked stereo3m 55s
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Tracking one guitar with two amps: Splitting signal3m 49s
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Tracking one guitar with two amps: Ground hum5m 30s
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Tracking one guitar with two amps: Polarity5m 58s
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Creating snare gate with compression4m 27s
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How to locate vocal plosives3m 41s
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When to set delays off tempo4m 22s
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Duck echo effects with compression4m 57s
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Automate EQ on fake strings3m 3s
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Sum to mono your low end4m 56s
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Turning any sound into sonic wash6m 1s
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Drum room mics as overheads6m 23s
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Adding spring reverb to guitar parts4m 16s
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Bass sidechained from kick drum3m 23s
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Kick drum sidechained from bass3m 35s
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Unique way to boost drum overhead mics5m 6s
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Creating sonic wash with modulation4m 39s
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Cymbal ambience and drum editing4m 48s
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Distortion pedals and bass DI3m 17s
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Drum high end in the mix3m 3s
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Kick drum low end in the mix3m 13s
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Dark bass amp with bright DI box3m 10s
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Parallel track drum edit trick2m 50s
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Bass amp and mic distance3m 6s
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Mixing with single handclaps6m
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Reamping vocals with travel speaker2m 33s
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Reamping instruments with travel speaker4m 58s
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Changing vocal sounds with real tape4m 50s
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Changing instrument sounds with real tape4m 34s
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Reamping vocals through headphones2m 55s
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Reamping instruments through headphones3m 34s
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Reverse vocal polarity while singing1m 49s
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Ribbon or dynamic mic on bass amp2m 29s
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Separate rhythm and solo guitar for mixing3m 52s
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Mixing mono electric guitar in stereo6m
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Parallel gated snare drum4m 42s
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Short delays on snare drums2m 12s
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Using Auto-Key to find a song's pitch3m 19s
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Fixing fades on an entire mix1m 14s
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Do not Auto-Tune your vocal doubles2m 46s
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Let artists control their headphone mix2m 1s
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Boosting snare hit pickup3m 2s
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Parallel vocal compression2m 36s
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Parallel vocal compression with low EQ2m 43s
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Parallel vocal compression with midrange EQ2m 19s
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Pro audio rack gear as stompboxes3m 9s
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When DI electric guitar tracks work3m 32s
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Stereo track or mono5m 6s
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Mid-side mics on acoustic guitar3m 40s
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Cardioid and figure 8 mics on acoustic guitar1m 39s
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Using a listen-back mic1m 29s
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Vocal breath edit fade tip2m 16s
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Use delay to fix percussion2m 16s
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Kick drum and bass guitar bus mix glue4m 15s
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Recording one-person handclaps3m 7s
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Speaker mic on kick drums3m 27s
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Checking mixes: Left minus right2m 49s
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Checking mixes: Mono2m 10s
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Using the console as a keyboard5m 32s
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Moving mics while reamping5m 6s
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Moving speakers while reamping3m 11s
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Real doppler drum effects2m 32s
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Moving mics around speaker reamping2m 3s
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Creating wider sounds through reamping2m 51s
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Reamping via tweeters only4m 33s
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Reamping via woofers only3m 58s
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Room reamping for echo returns6m 14s
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Reamping the whole mix for fade-out3m 7s
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Using input sheets1m 49s
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Mic’ing electric guitar for pick sound2m 36s
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EQ stereo sends to plate reverb3m 30s
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Delay before plate reverb3m 36s
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Mic’ing electric bass for pick sound3m 33s
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Using a speaker mic on bass amps3m 20s
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Tambourines all sound different1m 25s
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Monitoring on different speakers2m 55s
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Doubling guitar octaves3m 4s
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Panning vibraslap by hand1m 1s
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Percussion in stereo2m 22s
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Keeping your talkback on track2m 1s
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Foam windscreens affect sound3m 26s
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