FattMusiek
New member
I am interested in knowing how you all mic your guitars and basses. I have the best luck getting a nice crunchy tone micing really close to the cone.
What about you?
What about you?
How do YOU mic guitars and basses?
- Thread starter FattMusiek
- Start date
Richard Monroe
Well-known member
I have 2 versions-
1. Guitar>Avalon AD2022 preamp DI> TC Electronics M300 FX>Carver PM125 power amp>1X12 Marshall cab (Celestion Vintage 30) > Shure SM7B in front, 1" from the grill, just off axis/ AKG D112 on the back of the (open) cab, 4-6" off the opening, angled down just off the speaker magnet>both mics to the 2 channels of a Joemeek twinQcs> to Roland VS1824CD on 2 tracks- then blend to taste.
2. Guitar>POD Pro>M Audio SP5B (or any powered reference monitor)> AKG C414B-ULS in front, 2-3' off the front, between the tweeter and woofer (right in the near field)/ AKG D12 on the back, about 8" off the bass port, slightly off axis> both mics to the Avalon> then to the board. Remember when using the POD to drive a near field monitor, to leave the cab model engaged (studio mode). When driving a guitar cab with a power amp, disable the cab model (live mode).
Basically, I don't use guitar amps for recording electric guitar, all the ones I have access to are too noisy for my purposes. Version 1 is good for all kinds of wicked clean, jazz, rockabilly/country, etc. Version 2 is good for distortion. No compression, no EQ, as a rule.-Richie
P.S.- Bass, I don't bother to mic, as a rule. It's just Bass>Avalon DI> to the board. I don't use compression, EQ, or FX at all
1. Guitar>Avalon AD2022 preamp DI> TC Electronics M300 FX>Carver PM125 power amp>1X12 Marshall cab (Celestion Vintage 30) > Shure SM7B in front, 1" from the grill, just off axis/ AKG D112 on the back of the (open) cab, 4-6" off the opening, angled down just off the speaker magnet>both mics to the 2 channels of a Joemeek twinQcs> to Roland VS1824CD on 2 tracks- then blend to taste.
2. Guitar>POD Pro>M Audio SP5B (or any powered reference monitor)> AKG C414B-ULS in front, 2-3' off the front, between the tweeter and woofer (right in the near field)/ AKG D12 on the back, about 8" off the bass port, slightly off axis> both mics to the Avalon> then to the board. Remember when using the POD to drive a near field monitor, to leave the cab model engaged (studio mode). When driving a guitar cab with a power amp, disable the cab model (live mode).
Basically, I don't use guitar amps for recording electric guitar, all the ones I have access to are too noisy for my purposes. Version 1 is good for all kinds of wicked clean, jazz, rockabilly/country, etc. Version 2 is good for distortion. No compression, no EQ, as a rule.-Richie
P.S.- Bass, I don't bother to mic, as a rule. It's just Bass>Avalon DI> to the board. I don't use compression, EQ, or FX at all
Wide Awake
New member
Richard, one question I have. If you mic the reference monitor, won't it feed back ?
Richard Monroe
Well-known member
Wide awke- the answer is no, as long as the monitor isn't jacked into the board. In this setup, I'm not using the monitor for a monitor, I'm using it for a *guitar amp*! You can do the same thing with any preamp. Just go from the +4 line outof the pre, into the line in on the monitor, and then mic it, running the mic into another pre or the other channel of a dual channel pre. To review what you've recorded, either use another set of monitors, or re-patch.
I usually use just 1 monitor, because using both presents phase issues. I usually leave the other monitor patched to the board, and review for reference in mono. Given that I am deaf in one ear (like Phil Spector- remember the "wall of sound"?), missing one monitor on playback doesn't matter very much to me.
The advantage of micing a monitor is that it has wicked flat response, and therefore reproduces the amp and cab model accurately, unlike a guitar amp/cab. It also is damn near noise free. And unlike going into the board direct, it *moves air* like a real mic'd up cab, and can do it at much lower volume levels than a combo amp, which has to be cranked to sound good.-Richie
I usually use just 1 monitor, because using both presents phase issues. I usually leave the other monitor patched to the board, and review for reference in mono. Given that I am deaf in one ear (like Phil Spector- remember the "wall of sound"?), missing one monitor on playback doesn't matter very much to me.
The advantage of micing a monitor is that it has wicked flat response, and therefore reproduces the amp and cab model accurately, unlike a guitar amp/cab. It also is damn near noise free. And unlike going into the board direct, it *moves air* like a real mic'd up cab, and can do it at much lower volume levels than a combo amp, which has to be cranked to sound good.-Richie
Cyrokk
Farce of Nature
Typically, for electric, my best sounds are an sm57 at the edge of the amp, pointing inward to the center of the cone with the amp sitting in a chair. The typical chain is guitar-->RP-100-->Crate GT80-->sm57-->art mp tube preamp-->recorder.
I have been happiest with this on one side, and a DI on the other (guitar-->RP-100-->art mp--> recorder), after listening to hundreds of amp presets through studio monitors to get the best sound for the track.
I am very pleased with my bass sound and have no reason to change it: Peavy Foundation (with week-old strings)--->zoom 506II-->art tube mp--> recorder.
Cy
I have been happiest with this on one side, and a DI on the other (guitar-->RP-100-->art mp--> recorder), after listening to hundreds of amp presets through studio monitors to get the best sound for the track.
I am very pleased with my bass sound and have no reason to change it: Peavy Foundation (with week-old strings)--->zoom 506II-->art tube mp--> recorder.
Cy
crosstudio
New member
electric guitar (chunky blues sound)
fender american strat
fender deville
whirlwind director DI (plugged into amp out)
fmr audio RNP
electric guitar (reggae skank sound)
steinberg paddle ore
tech21 sansamp classic
fmr audio RNP
bass guitar:
conklin groove tools 5-string
tech21 sansamp bass DI
fmr audio RNP
for more of a jazz bass sound remove the sansamp
acoustic guitar:
yamaha 12-string
shure sm81 pointed at 12th fret 12" from neck
shure sm81 pointed at body angled toward hole 24" from body
fmr audio RNP
classical guitar:
yamaha nylong string
shure sm81 pointed at 12th fret 6" from neck
audio technica 8033 over shoulder or 12" from body
fmr audio RNP
i put the mics closer for the classical because the sound doesn't travel as far... but watch for boominess.
fender american strat
fender deville
whirlwind director DI (plugged into amp out)
fmr audio RNP
electric guitar (reggae skank sound)
steinberg paddle ore
tech21 sansamp classic
fmr audio RNP
bass guitar:
conklin groove tools 5-string
tech21 sansamp bass DI
fmr audio RNP
for more of a jazz bass sound remove the sansamp
acoustic guitar:
yamaha 12-string
shure sm81 pointed at 12th fret 12" from neck
shure sm81 pointed at body angled toward hole 24" from body
fmr audio RNP
classical guitar:
yamaha nylong string
shure sm81 pointed at 12th fret 6" from neck
audio technica 8033 over shoulder or 12" from body
fmr audio RNP
i put the mics closer for the classical because the sound doesn't travel as far... but watch for boominess.
Richard Monroe
Well-known member
Fonts- try version 2 above and see what a difference moving air can make. You can send the mics right into a couple of XLR ins on the 2480.-Richie
Aaron Cheney
Favorite Chord: C 6/9
Since this is sort of turning into a gear list-off.... I guess I'll play.
My favorite blues sound:
Melancon Classic Artist => Aramat Effects Green Machine =>Rivera Quiana => SM57 on axis about 4" off the grill, pointed straight under the "E" in "Rivera"
=> Mackie 1202 pre => soundcard.
For a crisper sound I'll move it more towards the "V", and for a mellower sound I'll move it more towards the second "R". Works every time!
Bass:
Ernie Ball Music Man Sterling Bass => MXR M-80 Bass D.I. => soundcard.
Aaron
http://www.voodoovibe.com
My favorite blues sound:
Melancon Classic Artist => Aramat Effects Green Machine =>Rivera Quiana => SM57 on axis about 4" off the grill, pointed straight under the "E" in "Rivera"
=> Mackie 1202 pre => soundcard.For a crisper sound I'll move it more towards the "V", and for a mellower sound I'll move it more towards the second "R". Works every time!
Bass:
Ernie Ball Music Man Sterling Bass => MXR M-80 Bass D.I. => soundcard.
Aaron
http://www.voodoovibe.com
fabio.degani
New member
It's not so complicated...
There are a few guitar effects processor that have a feature called "cab simulator" or "speaker cab". These effects can be plugged straight into the computer and can make a very good sound (unless you have a 1000 dollars microphone).
I use a Digitech RP-6 effects processor plugged in my computer and I record with the "speaker cab" on.
There are a few guitar effects processor that have a feature called "cab simulator" or "speaker cab". These effects can be plugged straight into the computer and can make a very good sound (unless you have a 1000 dollars microphone).
I use a Digitech RP-6 effects processor plugged in my computer and I record with the "speaker cab" on.
Richard Monroe
Well-known member
See above starement about "moving air". It generally does sound better than going direct with any simulator, and $1000 mic is not necessary. An SM-57 ($80) will be just fine, thank you.-Richie
MarkoPolo
New member
move cabnet about four feet in the air then a 57 towards center
but at an angle after you find the sweet spot on the sweetest
speaker, depending on the room and the sound you are looking for maybe put some baffals around the amp to get less room sound or not. If your trying to get the heavy disturbed sound
you may need to play with gating to get that tight sound or very
carefully punching in silence between guitar hits,
I have done all the above (I have no great pro tools setup to edit out the hits. hopefully you have a good pre ( But there really is no right way)
but at an angle after you find the sweet spot on the sweetest
speaker, depending on the room and the sound you are looking for maybe put some baffals around the amp to get less room sound or not. If your trying to get the heavy disturbed sound
you may need to play with gating to get that tight sound or very
carefully punching in silence between guitar hits,
I have done all the above (I have no great pro tools setup to edit out the hits. hopefully you have a good pre ( But there really is no right way)