Micing the amp
- Thread starter kboman
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So many possibilities here, so I'll share some of my experiences/preferences ....
In the studio, I like to double-mic guitar cabinets with a large-diaphram condesor (a Nuemann U87 is my favorite), and 1 dynamic (the Sennhieser 421 is my favorite here). A lot of people go nuts with phase-alignment between the 2 mics, but your ear is the ultimate judge. Whether I blend them immediately or record them seperately and blend in the mix will depend on the number of other things I have to record, but generally I will find the tone I like between the 2 mics and commit that tone to a single track. Distance is around 3-5 inches from the cabinet.
For live, I will usually go with a dynamic ... the 421 if available, but ususally a Shure SM57. Again, about 3 inches form the cabinet.
In both cases, I prefer pointing the mic at the edge of the speaker cone rather than the center, as I find the tone somewhat tighter and less "woofy". That applies regardless of whether the tone is clean or distorted.
As always, that is what works for me ... your milage may vary :glasses10:
In the studio, I like to double-mic guitar cabinets with a large-diaphram condesor (a Nuemann U87 is my favorite), and 1 dynamic (the Sennhieser 421 is my favorite here). A lot of people go nuts with phase-alignment between the 2 mics, but your ear is the ultimate judge. Whether I blend them immediately or record them seperately and blend in the mix will depend on the number of other things I have to record, but generally I will find the tone I like between the 2 mics and commit that tone to a single track. Distance is around 3-5 inches from the cabinet.
For live, I will usually go with a dynamic ... the 421 if available, but ususally a Shure SM57. Again, about 3 inches form the cabinet.
In both cases, I prefer pointing the mic at the edge of the speaker cone rather than the center, as I find the tone somewhat tighter and less "woofy". That applies regardless of whether the tone is clean or distorted.
As always, that is what works for me ... your milage may vary :glasses10:
Yes, definitely a different approach between live and studio. In most live situations, a 57 will do, and I'd vary the placement depending on the amp & speaker type. Back when I gigged a lot with my old band, I was using a Twin, and micing it dead center usually ended up working the best in the mix. But now the main amp I'm using has celestion blues, and center mic'd is just too effing bright. I like micing it half-way between the center and edge of the speaker.
In the studio, there are a ridiculous number of variables. But the combination I've really fallen for lately is a ribbon mic & either a 57 or a 421. A lot of ribbons have a figure-8 pattern, so I tend to use the back side of the mic since it's a little brighter. But the two signals (ribbon & dynamic) work really well together, and you can blend them any which-way, resulting in drastically different sounds.
In the studio, there are a ridiculous number of variables. But the combination I've really fallen for lately is a ribbon mic & either a 57 or a 421. A lot of ribbons have a figure-8 pattern, so I tend to use the back side of the mic since it's a little brighter. But the two signals (ribbon & dynamic) work really well together, and you can blend them any which-way, resulting in drastically different sounds.
Justinginn
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In general, I mic a little off-axis in both directions (a little to the left or right and a little toward the floor) about halfway between the cone and the edge. That's live. In the studio I usually put a large diaphragm on the center and a pencil about where I described above. Always experiment with phase because different configurations will give you really good and unique tones. Also I like to put a large diaphragm at the height, distance, and angle that you would be at if you were standing next to the combo playing. It gives a more realistic sound because most people find their tones from that location rather than right in front of the amp so you can expect that to have one of your best sounds. Also, from there the sound will almost always sit easier in the mix. You don't want to do that for in your face tracks but if it's filler, it's the perfect way to mic. For leads micing from the back and flipping phase can make things fatter.
Patrick from Davis
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For non live setups, putting a ribbon right next to the speaker and a large diaphragm condenser off axis back a ways (within a yard) is fun. You will frequently have to adjust the phase of the condenser, with the more ambient sounds it gets being out of phase. However, it gives a very nice effect to have the extra stuff not quite perfectly in phase. This is much easier to do with a phase adjust box/plugin than moving things back and forth.
Patrick
Patrick
Depending on the club and/or PA, any mic will work just fine.kboman said:
Dynamics are generally used in live situations because they're essentially indestructable. Most clubs will have an adequate supply of 57's, so that is most likely what will end up in front of your amp. Generally, you'll mic close to the cab to avoid any kind of bleed from everything else on stage, but whether you go center of the cone, or off to the side will depend on the "flavour" of the tone you're after. Experiment and have fun!
Patrick from Davis
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Good call with not depending on the club... I would also suggest putting a piece of copper tape around the outside of the mic, or aluminum, because at some point someone will ask you which one is yours when there is a bunch of them around. Just do something that is not drastic but makes it unique. I have aluminum ducting tape on my stuff, and there is never a question.
Patrick
Patrick
kboman said:
If you are buying your own amp mic, consider the Sennheiser e606 (104€ @ the big T) or the e906 (159€). You can hang these (see pic) when stage space is limited and they sound really good. And you have something different than the rest of the crowd.
toronado said:If you are buying your own amp mic, consider the Sennheiser e606 (104€ @ the big T) or the e906 (159€). You can hang these (see pic) when stage space is limited and they sound really good. And you have something different than the rest of the crowd.
I would second that ... those are great microphones. Work great on toms as well as guitar cabs.
Cagey
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Patrick from Davis said:
Another thing you can do that's even more inarguable is engraved IDs. They're incredibly easy to do, and the tool is surprisingly inexpensive. For instance, this diamond-tipped engraver...
... is only $15 at Amazon. Mics almost always have aluminum bodies, so they're easy to engrave, and since this unit has a diamond tip, you can even nail stands and so forth easily.
I got the idea from my dad 100 years ago, when he and my brothers and I all had to argue over whose tools were whose. Screwdrivers, wrenches, etc. that were common needed ID so you could maintain possession when somebody didn't keep track of their own stuff.
