Micing an amp with a Small Diaphragm Condenser Microphone

Simply because I didn't have a 'small,' I bought a Rode M3, on sale. I am experimenting, and would like an opinion or two. How would you set up to mic an amp - Blues Jr. - for fairly soft jazzy-melodic chord stuff? I'll try it all ways (today) but any wisdom would be appreciated.
Thanks
 
The max SPL looks like you don't have anything to worry about in front of a 15w amp, but you might want to use the -10dB pad to start with (not knowing how loud you'll be playing). But otherwise, same as anything else. Try different distances from the cabinet, placement between the speaker center and rim, amp settings, mv/gain, etc. until you get what you are looking for.
 
I would only add to move the amp around also for the best tone, preferably off the floor and away from the walls so you don't have too many reflections to deal with, or at least only have ones that add to the sound.
 
One problem is escaping the pick/finger sounds when a chord needs strumming. There tends to be a scraping sound on the top E string, an edgy sound. It's interesting what mics do with sound, and what they pick up and accentuate compared to one's ears.
 
Very true. Another good reason to wear headphones connected to input when setting mic position if you are working without a hlper.
 
A 15W guitar amp could put out 112dBSPL at one metre and that will increase as you get closer to the cone, and get close you must to avoid room effects. I would therefore strongly suggest the -20dB pad is engaged. You don't mention the interface? Some of the budget ones have rather poor overload margins.

Picking and fret noise? Yes, troubles acoustic guitarists as well! Technique (I am told! Old, rubbish bass player opining here) is all.

As ever, Google for Sound on Sound Aug 07 'recording electric guitar' And, (only one Joe so far) investigate 'Re-amping'. That allows you to concentrate on mic positioning.

Dave.
 
Are we talking about pick noise coming out the amp or like acoustic bleed from the actual strings into the mic. The former is all about technique, the latter probably just means your amp's not loud enough. :)
 
Are we talking about pick noise coming out the amp or like acoustic bleed from the actual strings into the mic. The former is all about technique, the latter probably just means your amp's not loud enough. :)

Also.. 'Scraping sound on the top E (low -wound presumably?).. would suggest not a clean parallel-to-the-string picking.

Ah the things we find recording- vs all that time just playing!
One of mine? Right hand fingers tapping' -landing for support picking my acoustic! (An early 'WTF? moment :>)
 
One of the reasons so many engineers use an sm57 or the beyer and senneheisers for guitar cab mic is the fact that they aren't as accurate as a condenser on the highs which just makes tracking without a compressor less work. Plus the upper mid bump is helpful in making it heard in the mix. Hooray for the dynamic!
 
One of the reasons so many engineers use an sm57 or the beyer and senneheisers for guitar cab mic is the fact that they aren't as accurate as a condenser on the highs which just makes tracking without a compressor less work. Plus the upper mid bump is helpful in making it heard in the mix. Hooray for the dynamic!
Yes> this.
[You must spread some Reputation around before giving it to Gtoboy again.] ...grins

Until then there is High and Low Pass Filters AKA low and high cut' -or other filter styles, to dump as needed the very top and bottoms -like the typical dynamics do.
http://cdn.recordinghacks.com/images//graphs/sennheiser/e606-e906-frequency.png

(I don't see where it's mentioned on the multi graph/plot.. but I suspect the dotted red 'low rise is 'up close' vs the others are all back away from the speaker (any source of course :>)
Your condenser will act similarly -just with more total low end extension.
 
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[MENTION=169133]Eleanor[/MENTION] - Your last two posts seem to contradict each other, unless you've got both "problems" happening.

I just the other day recorded two different takes on two different guitars through two different tiny amps - a California SET 5 (5W), and a Vox AC4TV (using all 4W). Each amp was on a waist-high stool with the mic pretty much right up on the grill. I was standing not more than 2 feet from the amp (and mic) at all times. There is no noticeable acoustic string noise in any of it.

The other kinds of noises can and should be used as an effect or to add personality to a track. You should definitely learn to control it, but don't be afraid to use it, and definitely don't throw out any otherwise great performance because of it.
 
^+1
Sometimes that fret squeak that you so carefully edit out becomes the thing that makes it work. So you put it back in and compress it or ride it a little and bam-bobs your uncle , you've got something special. I leave pristine to the classical guys and Steely Dan.:D
 
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