I have a mic shield issue, but it is a live sound situation, not a home studio.
I am noob/amateur at this audio thing. My expertise is electronics, not recording.
I mix live sound for East Crescent. The drummer provides the PA and most of the amps, including two small guitar amps with acrylic shield in front of each one to isolate the microphone. He generally places the amps next to each other on the floor, with the microphones close to the speakers and the shields somewhat farther away.
I think he maybe has this shield split in two pieces, one for each amp:
Control Acoustics VDS2X4 Combo Amp Sound Barrier Shield | Musician's Friend
I noticed at the latest gig (my first outdoor gig) with this band, the treble on the guitars was dramatically brighter and I had to cut back the treble considerably from what we used at the last indoor gig. Here is the YouTube playlist for that outdoor gig:
YouTube
I suspect that more woofer in the guitar amp might help the bass some outdoors, but hauling larger equipment is probably not an option.
Would a different microphone improve the tonality when mixing outdoors? I think it is an SM58 hanging by its cord in front of the woofer, slightly off center, or maybe on a low tripod stand. I cannot remember. Knowing Charlie it is probably on a stand.
What about a different sort of shield? Thin rigid materials only reflect down to about 500Hz. That means plexiglass behind a microphone behaves as a high pass reflector bouncing treble back into the microphone?
How about this?
The ONLY one I've found that works is this one:
Halo - Aston Microphones
I've used it on location with several different mics in some lousy acoustical situations and it works quite well.
Studio In The Woods - Recording studio in Evart MI - BandMix.com
Would that help? If the shield is absorptive rather than reflective, would that help limit the tonal shift by avoiding treble reflection back into the microphone?
Could similar performance be achieved by lining the existing plexi shields with thick foam of appropriate composition?
Should the guitarists be cutting back their treble on stage for outdoor gigs?
Here are the 'indoor' and 'outdoor' EQ curves that I used on the lead guitar (his treble was painfully bright outdoors, with the 'indoor' EQ):
Should I have cut more treble in the PA? Where do we focus attention on this issue?
Here is a playlist demonstrating the 'indoor EQ':
East Crescent and Redwood Roots at O'Malley's Sports Pub 2017-02-03 - YouTube
I suspect that boundary reinforcement indoors from the wall behind the stage boosted the bass going into those microphones.
They had a substitute lead guitarist for that indoor gig who used far less treble on his guitar, but they had the same rhythm guitarist for both gigs. I use similar EQ on both guitars, with a slightly taller and narrower peak on the rhythm for a sharper Reggae chop and a slightly broader and lower peak on the lead for more melodic intelligibility over a broader frequency range.
The indoor sound is dramatically different, and far less bright even for the rhythm guitar, even with more treble boost in the PA. I am unsure how to compensate or even gauge the success of any compensation for outdoors, but I think some adjustment is in order somewhere.
Sorry if I am unintentionally hijacking the thread. I thought it was fair game given the open-ended nature of the OP's question. Thanks in advance for your helpful responses.