Don’t struggle to get a great miked guitar sound! Check out five easy ways to capture your cab or combo, and watch more studio & recording lessons here 👉 ua-cam.com/play/PLlczpwSXEOybJLExI9WQwRA7ARVxPCPEG.html
Great job Don and Mitch. This is what differentiates Sweetwater from other retailers, you educate and help musicians , not just try and sell them stuff.
Another great idea from Sweetwater! I love getting the most out of my equipment and these videos make certain that I do. My microphones now have new sounds. Especially on my drum kit. Thank you for all the informative videos like this one!
Great job as always guys! I’m glad that you highlighted and showed what drastic differences can be achieved with the same equipment. it seems a lot of home recording enthusiast see one way, and become afraid that the one-way is the only way that will work. something I wanted to add, for those who do double rhythm tracks, you might want to consider micing differently for each track; that can be a big trick to giving you a bigger sound all together. This stuff is a world of fun, and I always appreciate your videos. Of course, I always appreciate making purchases from you as well lol.
That first two mic technique is called the Freidman technique. They make clips specifically for that and it's great for metal and other hi gain genres. You get a bright mic, and a dark mic.
@Brent Harmon's Music Corner that's a complete phase rotation, might help but won't fix it. Best way to phase align is to measure distance from source to closest mic, then from source to furthest mic, find the difference, calculate or use an app to convert that distance to milliseconds or samples, and use that number on the DAW to delay the closest mic. Just a note, if using front and back mic technique, add a Phase flip (on one of the mics) to what was said. Fine tune by ear some samples back and forth Sounds way more complicated than what it is really, remember 1foot is roughly 1 millisecond
@@isaacbugalho good info. Just my opinion, but why bother with all that calculation (unless you have lots of time on your hands and enjoy that sort of thing), when method 1 alone sounds so good? Obviously the answer to that is experimentation and finding the right sound for the setup and space, but to me there's a clear winner here, and the simplicity makes it an easy choice for me.
@@AJ-ch2cg Your ears should be the judge, there's no wrong, one of the most famous 80's snare sound is achieved with mics out of phase. That being said, if you want mics in phase, what I wrote is the way to go, just flipping the phase won't do it.
this is helpful, but im a little confused with regards to the 2 mic technique when one mic is much further from the source than the other. doesn't this lead to phase issues?
Why not plug in directly to a mixer? This confuses me so much. Especially with a bass amp. If I have a bass amp do I still need a second subwoofer for the PA system? Or are two main speakers good enough?
In a guitar amp, a good chunk of the tone actually comes from the speakers and how they sound in the room, which is why most guitarists prefer micing an amp rather than going DI. I couldn’t really tell you what most bassists prefer, but assuming you’re going DI you’d probably want to have a subwoofer in your PA system to get the most bass.
Plug what directly into a mixer? If you want to capture the output of an amplifier you will either need to capture the sound at the speakers with a mic or simulate a speaker. You can do the latter a few ways, including using a reactive load box to capture the signal passing through the speaker cable, sending it to a DAW or dedicated hardware box, and then using a simulator to model the speaker. If you just take a preamp out directly into a DAW it usually sounds terrible.
What about using the shuresm57 b? The big one that podcasters use. That’s what I’ve been mic’ing up my amps with and I’m wondering if the sm57 might be better
Lots of videos on that, comparing the two. SM7B is good for lots of applications, but the SM57 is the standard guitar cab mic. One reason is size... easier to put the SM57 on a cab in a live environment, isolation cab, etc.
@@uvicjames I ended up trying both. The 7b sounds terrible with guitar very muddy even after playing around with settings and position, 57 sounds really bright and awesome tho.
By guitar bleed do you mean you can hear the guitar being played though the mic, if so you just turn that up up very loud, if the acoustic strumming is coming though your guitar amp mic that means your strumming is as loud as your amp,
on a 4 speaker cab.. one speaker has a tendency to sound better than the rest.. find that one and mike that one... if you only got one mike like on stage. how the speakers are wired will determine which one has more balls. lol
Why does everyone never do these using clean tones?? also crunchy, dirty tones all the time. Clean tones give a better demonstration because there are no effects
Don’t struggle to get a great miked guitar sound! Check out five easy ways to capture your cab or combo, and watch more studio & recording lessons here 👉 ua-cam.com/play/PLlczpwSXEOybJLExI9WQwRA7ARVxPCPEG.html
Fantastic Video. The summary comparison as the end is excellent.
I love how the narrator just gets down to business with no wasted time at all. 10/10
Great job Don and Mitch.
This is what differentiates Sweetwater from other retailers, you educate and help musicians , not just try and sell them stuff.
Mitch and Don are one of my main sources for information.
Another great idea from Sweetwater!
I love getting the most out of my equipment and these videos make certain that I do.
My microphones now have new sounds. Especially on my drum kit. Thank you for all the informative videos like this one!
This is so basic yet extremely helpful. Thank you for sharing 😁
Not sure why I watched other videos; this one's all I needed.
Yeah this was amazing and taught me so much. They kept it simple besides the phase problems. Not sure what that part means haha.
Great job as always guys! I’m glad that you highlighted and showed what drastic differences can be achieved with the same equipment. it seems a lot of home recording enthusiast see one way, and become afraid that the one-way is the only way that will work. something I wanted to add, for those who do double rhythm tracks, you might want to consider micing differently for each track; that can be a big trick to giving you a bigger sound all together. This stuff is a world of fun, and I always appreciate your videos. Of course, I always appreciate making purchases from you as well lol.
Great vid, thanks!
That Z28 MKII sounds awesome
Again with the amazing content. Sweetwater never fails to bring the heat.
Thanks, Mitch, great video 🙏
What great timing. This vide is just what I needed. Thank you sir.
Sm57 with Royer for close miking
Thank you so much! Really helps! Greetings from Uruguay!
That first two mic technique is called the Freidman technique. They make clips specifically for that and it's great for metal and other hi gain genres. You get a bright mic, and a dark mic.
Loving this content
nice vid. very helpful.
Great lesson, great knowledge.
Thanks for the video
Very very cool video
i like sound of method 1 (angled) and method 4
I love you Sweetwater 👍
Very helpful ideas. Thanks for sharing.
Thanks for checking it out! 👍
Very informative as per usual, cheers for this!
Great advice!!!!!! Thanks for this information!!!
Nice , I needed this
Really useful information - thank you! Definitely going to avoid the last technique as it sounded like playing in a tin can.
My favorite was two mics on the cone. Seemed the biggest sounding.
How do you address phase issues? Just move the mics around, or is it something with your DAW or interface?
@Brent Harmon's Music Corner that's a complete phase rotation, might help but won't fix it.
Best way to phase align is to measure distance from source to closest mic, then from source to furthest mic, find the difference, calculate or use an app to convert that distance to milliseconds or samples, and use that number on the DAW to delay the closest mic.
Just a note, if using front and back mic technique, add a Phase flip (on one of the mics) to what was said.
Fine tune by ear some samples back and forth
Sounds way more complicated than what it is really, remember 1foot is roughly 1 millisecond
@@isaacbugalho good info. Just my opinion, but why bother with all that calculation (unless you have lots of time on your hands and enjoy that sort of thing), when method 1 alone sounds so good? Obviously the answer to that is experimentation and finding the right sound for the setup and space, but to me there's a clear winner here, and the simplicity makes it an easy choice for me.
@@AJ-ch2cg Your ears should be the judge, there's no wrong, one of the most famous 80's snare sound is achieved with mics out of phase.
That being said, if you want mics in phase, what I wrote is the way to go, just flipping the phase won't do it.
this is helpful, but im a little confused with regards to the 2 mic technique when one mic is much further from the source than the other. doesn't this lead to phase issues?
Love it!
Why not plug in directly to a mixer? This confuses me so much. Especially with a bass amp. If I have a bass amp do I still need a second subwoofer for the PA system? Or are two main speakers good enough?
In a guitar amp, a good chunk of the tone actually comes from the speakers and how they sound in the room, which is why most guitarists prefer micing an amp rather than going DI. I couldn’t really tell you what most bassists prefer, but assuming you’re going DI you’d probably want to have a subwoofer in your PA system to get the most bass.
Plug what directly into a mixer? If you want to capture the output of an amplifier you will either need to capture the sound at the speakers with a mic or simulate a speaker. You can do the latter a few ways, including using a reactive load box to capture the signal passing through the speaker cable, sending it to a DAW or dedicated hardware box, and then using a simulator to model the speaker. If you just take a preamp out directly into a DAW it usually sounds terrible.
What about using the shuresm57 b? The big one that podcasters use. That’s what I’ve been mic’ing up my amps with and I’m wondering if the sm57 might be better
Lots of videos on that, comparing the two. SM7B is good for lots of applications, but the SM57 is the standard guitar cab mic. One reason is size... easier to put the SM57 on a cab in a live environment, isolation cab, etc.
@@uvicjames I ended up trying both. The 7b sounds terrible with guitar very muddy even after playing around with settings and position, 57 sounds really bright and awesome tho.
How are you not getting guitar bleed from playing right next to the mics?
By guitar bleed do you mean you can hear the guitar being played though the mic, if so you just turn that up up very loud, if the acoustic strumming is coming though your guitar amp mic that means your strumming is as loud as your amp,
That amp would be sitting around 100db
Why no noise?
on a 4 speaker cab.. one speaker has a tendency to sound better than the rest.. find that one and mike that one... if you only got one mike like on stage. how the speakers are wired will determine which one has more balls. lol
✌🏿
Why does everyone never do these using clean tones?? also crunchy, dirty tones all the time. Clean tones give a better demonstration because there are no effects