The BEST Way to Mic a Guitar Amp When Recording Guitar
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- Опубліковано 19 лип 2022
- The Mic Placement guitar recording technique that will get a great sound from your guitar amp, every time. In our opinion, anyway.
When it comes to recording electric guitar, there are a lot of different approaches, and few to none of them are wrong, exactly. Trouble is, if you're looking for a go-to method to get the best sounds from your guitar amp, hearing "Well there's no wrong way to do it" isn't really all that helpful...
So we wanted to share our go-to method for recording guitar amps that never lets us down (and has earned a fair few compliments on our social media lately, thank you very much). If you're looking for the best sound with the least fuss, you'll want to cop this technique...
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What's your go-to technique for miking guitar amps? Is it the same as ours? Different? Let us know!
For modern metal, Close Mic Technique is primary. I like to utilize a small Sub-Mixer for a Multi-Mic Technique... Commit to a handful of microphones and placements for A Well-Blended Guitar Buss. Microphones are a selection of small to medium to large diaphragm dynamics, such as Sennheiser e906, MD-421 II, transformless SM57 clone, Golden Age SM7B killer... And a room mic: Golden Age Ribbon Mic. I run a Diezel Herbert with Front-Loaded G12K-100's.
For me, it's a Royer 121 with an Sm57. It's the most similar to what I hear in the room. I want what I record to sound like what I was hearing when I recorded it.
I’m Captain Close Mic over here and I blend in a room mic for taste… But I forgot about the Albini method. I bet that gets me what I’m after and saves me some time. Back to the Shed for me!
The technique I usually utilize is a 57 off axis pointing across the speaker from the very edge to try to capture most of the speaker with an up close sound that grabs a lot of bass and grit. I then use a single condenser in my room placed where I feel the amp sounds best from a standing position. I usually will set that mic where my head likes the sound, so if that's up high, it goes up high. If I have to crouch, that's where it goes.
I usually get a good balance of directness and ambience. I will literally have them faded in and out dependent on song parts. It's never the same. Sometimes a mix needs more ambience for the rhythm, sometimes for the solo parts. Regardless, I use the same mics, amp, and guitar for most of my songs. Switching those things out is overrated, and if you find an excellent sound, you should really stick with it as much as you can for the sake of continuity.
Of course if you want different parts, use different setups, but I've always found that albums are more friendly and forgiving to listen to when there is a semblance of uniformity between tracks, even if that's just one rhythm track where you used the same exact guitar setup. Albums that used tons of disparate session players with odd rigs have always sounded disjointed to me. Eric Johnson perfected this by literally having multi-amp setups that he eventually started switching LIVE in the studio, so he could record clean, dirty, and lead parts in single takes. It turns an incredible mixed sound into a single live performance.
Really good points as far as how things fit into overall album cohesiveness‚ I have not thought of that before, but I do agree.
Astonished to see Cascade Fathead in a video for the first time. I have a pair; they’re quite nice!
..I use one mic just off center,the other parallel the the angle of the cone…usually two 57’s…I also use a 4x12 cab,all 4 speakers are the same,but it’s amazing how different each speaker sounds…my top right sounds the best..
I used to have a 1x14 bass amp that had an opening below the cone where the air pushed by the back side of the cone was directed to the front of the amp. I used to put a mic about 4 inches up and right of the center of the cone, and then I'd stick a mic right in that opening at the bottom. Got a lot of the mids to upper mids and a ton of the lows to super lows.
For checking phase, either record a bit of guitar and look at the waveforms, or run the sound of a metronome through the amp and then look at the waveform. I think this is the easiest way. But out of phase can be a good sound if done to where it sounds the way you like it.
I Only have one channel A.I. " F.Rite SOLO - dont judge me lol)- and two mics (so one mic while recording). All my money is in speakers, cabs, amps, pedals and lastly guitars. Rode NT1a and audio technica (forget but like the $180ish model with low cut and half db)dB. It never sounds like it sounds lol.
I've come to the realization is that I just want the soundnibhabe outnof my amp. No mic has ever come close although they do sound cool sometimes.
I hope the Direct Box episode also details plugging directly into certain interfaces. Getting good results with a slightly outdated Apogee interface.
It's a Small World!
I'll have to try backing off the mic next time I record. I've tried close miking with my metal rig and it sounded like mushy garbage that needed too much EQ and compression to "fix".
If you place a microphone in the front and back of an open-back cabinet, do you still need them to be equally far away to be in-phase; or, would you want the one in back to be closer because the speaker is facing away from it?
When you’re going with two mics, how do you generally pan them?
i typically use two different methods and it depends on the intended outcome. do you want a fuller sound by panning hard right and left, or do you want them to blend somewhere in the middle? i use both regularly. the only thing i don't use is both of them straight on 0 degrees. that's not to say that i won't find a place for it someday.
if anything, i hope this video inspires you to play around with that stuff. there really is no right or wrong way to do it, just different ways!