coolj169
Newbie
Joined: 27 Jan 2008
Posts: 2
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| Guitar amp mic positions |
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While I have been recording my guitar amp, I had read somewhere about a 3:1 rule. I must have not read it correctly or too quickly, because when I got home to record using it, I thought it meant that if you were using two mics on one source, the second should be three times as far as the first. So I used my SM57 close up to the grill, and my AKG perception 200 three times as far away. After reading the chapter about mics and mic technique in my class text book, the Huber and Runstein, Modern Recording Techniques, I read that the rule applies to when two sources are being recorded with two seperate mics, so to reduce leakage and phase problems.
My question is, does anyone know of a similar formula for the application I was using, or is the best way to go just close mic both mics and adjust the levels at mixdown to get the best blend of dynamic and condenser sound that I want? |
Thu Feb 07, 2008 6:25 am |
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Rmuse
Family Friend
Joined: 13 Nov 2006
Posts: 109
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| Micing guitar amps |
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Hi there,
I have never used a formula, and many mic technique seminars all have give the same advice. That is put the close mic (SM 57 etc) close to the cabinet and put up an ambient mic back till you get the sound you like. Anytime I have tried to follow a formula too closely I end up being frustrated. Each mic, room, cab are different and for me, experimentation always yields the best results (personal opinion). Besides, you will probably come up with some incredible 'trick' that works for you. The only rule after that, is, that you MUST share it with the rest of us. I say put the large diaphram condenser or a Sennheiser MD 421 about 8 feet away and about 6 feet in the air (as ambient mic) for a bigger sound. It has worked for me in my room; sometimes things change though. There are many issues so just experiment.
Hope that helps.
Cheers
ron |
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Fri Feb 08, 2008 12:14 am |
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coolj169
Newbie
Joined: 27 Jan 2008
Posts: 2
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| Much thanks! |
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Thanks a lot for your input Rmuse! I will go ahead and trust my gut and ears for the most part. I guess thats really what it comes down to, right? I actually just found a great sound out of my Marshall MG100HDFX, so now I will try to get a good sound on record. Maybe I can figure out how to post it here after all is said and done. Happy recording! |
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Fri Feb 08, 2008 3:09 am |
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maxpower
Newbie
Joined: 19 Feb 2008
Posts: 2
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I found that having two close mic with different color can be pretty usefull, .. my best combination so far is the classic sm57 with the ribbon mic Royer R-121. The Royer had that warm and bass sound that is cruely missing on the 57. But as Ron says, you better have your own experimentation, .. there is so much different technique that work well. |
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Tue Feb 19, 2008 6:31 pm |
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Rmuse
Family Friend
Joined: 13 Nov 2006
Posts: 109
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| "Too" close micing |
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I agree with Maxpower that an SM 57 has that harsh sound at times when close-micing a guitar cab. I recently borrowed a Royer to see just how warm it is on cabs, and it did give a fuller tone.
However, the placement of any mic can give that brittleness we hate. I propose that any mic can give a better tone if one just moves the mic to different areas of the speaker itself. I learned at a Neumann seminar to get a flashlight and look at the speaker and with headphones on, move the mic to eliminate that harshness by just adjusting the angle by small increments. That is, the angle of the mic's capsule in relation to the speaker itself. Many times EQ can be eliminated by just moving the mic around a little till the 'right' sound comes through. What is right? Won't try to define right, but have been told by pros often that 'the sound must sit in a track correctly', not just by itself, but within the context of the entire song. That should make the mixing engineers task easier too.
Another concept was pointed out that we don't listen to electric guitar (or any instrument) with our ear(s) stuck up against the cab. Walk around as the instrument is being played and find a spot that sounds really good to you. That 'may' be the best place to put the microphone.
This technique is time consuming, but once accomplished will yield results you may be happy with. I got a sound very close to using a Royer ribbon and SM 57 by putting up one large diaphram condenser 16 inces away from the cab with the capsule pointed a little off-center of the speaker. The guitar track sat nicely in the song, and I was able to avoid purchasing the Royer (for now). 
More experimentation, and thinking about the instrument's track within the context of a song is more beneficial than following 'standard procedure' (my opinion). True, every picture you see is of a 57 on the speaker grill, or a ribbon a little off the grill (or both). but there are alternatives. And don't forget that changing the angle of the mic's capsule just a little can give great EQ without inserting EQ on a track.
Just my opinion, and would appreciate hearing what other recordists are doing to get the magic sound. Let us know what you're doing, and the mic you're using. I don't use my 87 on a guitar cab, but am going to give it a go. Help me to find the magic sound by sharing your secrets. I promise I won't tell anyone!  |
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Sun Feb 24, 2008 6:21 pm |
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wailingalleycat
Forum Manager
Joined: 07 Oct 2003
Posts: 694
Location: Jersey C.I (UK) |
close mic'ing isnt necessarily the best option.
just a couple weeks ago i mic'd a guitar by putting a C414 up near the celing in the corridor OUTSIDE the live room with the door wedged open because thats where it sounded best. |
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Sun Feb 24, 2008 7:09 pm |
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Rmuse
Family Friend
Joined: 13 Nov 2006
Posts: 109
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| Close micing |
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Great tip!
If anyone looks at old photos of Geoff Emerick's mic placement on the Beatle's guitar cabs, there is usually an M49 (or one of those types) two feet away and two feet above the cabinet itself, aimed at an angle toward the speaker. Not the end all be all for placement, but got great sounds.
I like the idea (like yours Paul) of just one mic far away...the door part is intriguing. Gotta try that! Bathrooms with the mic in one corner and the cab in another; seen a friend do that, although there was a bit much reverberance for my taste. Sounded very ‘cool’ though. What pattern did you use for the mic? And, if you used cardioid did you aim it at the opening of the door? Great idea and just goes to show there are endless possibilities that we all can’t have tried. Thanks!
cheers |
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Sun Feb 24, 2008 8:47 pm |
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