What is the best of amp for mic'ing up at home for recording?

the amp that gives you the best tone for your paticular style and taste. The mic and the recorders job is to capture that sound...so its a matter of your personal taste.
 
Just to amplify on jimistone's comment, it depends on the style yor trying to record, the guitar and the player. If you're doing a Joe Pass kind of thing, a Marshall JCM800 and a straight and slant cab would probably a poor choice (but he probably could've made it work:cool: ), ya know what I mean? What ever sounds good to you, you should be able to record to your satisfaction.
 
Sonixx said:
why in the world would you want to put a mic on a J-Station :)
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So that you can faithfully capture every nuance of sound that is emitted when you smash it into a million shards with a blunt tool of destruction :D :D :D :p :D :D :D

The really funny thing about my comment (maybe the *only* funny thing) is that I've never heard a J-Station in my life. I just got this sudden image of plastic pieces ricocheting off walls and I couldn't resist.
 
but............

i sometimes run my J-Station into the S/PDIF of my soundcard, run the analog out of the J-Station into an old Kustom KA100 tube amp, mic it with a sm57 into the analog inputs of the sound card......

so id get a J-Station and a nice little tube amp......
 
Heh. I got the image of actually micing the J-Station. I.e., no speakers, just the J-station without any cables. Eh. At least I amused myself...

:D
 
For general purpose recording in a low volume setting I'd use a Fender Princeton Reverb (but only the all-tube model).

For ease of use, lots of guys on this site recommend either the POD or the J-Station (they're plug and play no-mic-needed boxes with guitar in and multiple selectable guitar tones out).
There was a Vox AC-15, bu tI believe they're really rare (read: expensive!) unless they re-issued them lately.

foo
 
Not promoted very well but the Johnson JM150 Millenium 2x12 Combo is a great amp for a variety of applications. Love mine.
 
here's two that work great...

Amps.jpg


can be used as is or can drive a larger cabinet...

if you can find amps similar to these especially the Fenders, they're great studio amps.

the Champ is a Class A (one 6V6) and delivers a great Distortion. very Warm...

the Princeton has two 6V6's and can go from clean to overdrive without everyone having to leave the house. works great with a GT2 or as a feedback device with a POD

the JCM-800, which i've re-tubed with EL34's, is much grungier and also has an OKay Clean with some work. but not my first choice. this amp also works great with a GT2. i wish i had a vintage Tube Screamer to try... :(

all three of these work great with my Ampeg V4 cabinet loaded with Greenbacks which delivers a fairly scooped tone...

these amps basically cover the gamut from clean to dirty without requiring a 1000db's...
 
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I think the Cyber-Twin is the ultimate studio amp. It has XLR's so you can run it direct. It has two 12's in stereo, mic's nicely. It has an amazing range of versatility and tones. It'll do clean, dirty, flat out distorted, tube or solid state tones, vintage or new tones. If you have a chance to put the C-T next to a vintage Fender or Marshall or even Vox amp, you can dial in that tone and save it to use later. It has great reverbs and effects. It sounds great loud or quiet. The freak'n knobs turn by themselves.. what more could you ask for!?!

I've recorded direct with it but havent mic'ed it yet. I've got mp3's of it doing clean blues, dirty blues, overdriven blues, heavy blues-rock, and metal.

http://dabluesman.com
 
Quote from Fender:
"The Cyber-Twin uses Cybernetic Amp Design (C.A.D.)"

Modelling amps use "digital snapshots of the amps they are "modelling." The Cyber-Twin doesn't.

For instance the tone stacks, take blackface, tweed, and dynatouch amps. Those who have used these amps know that the knobs act differently. Like turning up the Bass knob on a blackface will effect the sound one way but if you turn up the Bass knob on a tweed amp it'll effect it a different way. With the Cyber-Twin, if you choose blackface tone stack the knobs will act and preform like blackface knobs. Change the tone stack to tweed and the C-T's knobs act, respond, and preform like a tweed amp's knobs. The same goes for dynatouch and HMB (Marshall's Bassman copy.) And I haven't even gotten into the drive circuitries yet. Once you choose your tone stack, you can choose your drive circuitries (12 tube types and 4 solid state types) and you can place the drive circuitry before or after the tone stack. With the Cyber-Twin the guitar signal goes through analog configuration of resistors, capacitors, etc.. In essence, the Cyber-Twin does not "model" an amp, it becomes the amp. I know that sounds crazy, but that's what it does.

Sonixx, I'll put it this way.. The C-T is Fender's answer to modelling amps like Line-6. But IMO, it's on a different level.
 
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