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lukmen
New member
So if you record a guitar, with two mics, one is condensor other is dynamic(smt like sm57) so how do you mix them? how do you pan? how to eq those two tracks?
GazEcc
mBallstát atá tiomanta
Broad question, well you mix them by setting the levels so that they compliment each other, you pan them so that they... well compliment each other and you eq them so they... actually yeah so they compliment each other.
Its all subjective, you'd use two mics to get the two sounds to work with its like mixing colours you mix to suit your personal taste
Its all subjective, you'd use two mics to get the two sounds to work with its like mixing colours you mix to suit your personal taste
bouldersoundguy
Well-known member
Eq and pan to taste. Eq is going to be a matter of what you've got and what you want to end up with. I usually pan the close mic conservatively and the far mic somewhere near 100% the other way. The close mic is the primary image and the far mic adds space to the guitar.
FadingMusic
New member
It would be wise to position the microphones first so they "fit" into the mix naturally.
Do whatever it takes to get the sound you're looking for before you record it.
You can make some corrections after recording it.
It can greatly improve your mix.
Do whatever it takes to get the sound you're looking for before you record it.
You can make some corrections after recording it.
It can greatly improve your mix.
Track Rat
Just Your Average Sized Member
Probably never the same way twice. If it was going into a mix with a lot of other instruments I'd probably only use one mic and which one would depend on the song and the guitar. If it was a solo piece some traditional techniques like the condensor at the 12th fret and the 57 behind the bridge somewhere or one at the body/neck joint and the other 3' distant but unless the room you're recording in sounds good the ditant mic thing might not work out for you. As in all things, it depends. Experiment a lot. It's really the only way you're going to get your arms around it.
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lukmen
New member
forgot to mention that recording would be done on distorted electric guitar 
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RAMI
Guest
You also forgot to say thank you for the 4 great responses you got. 
Track Rat
Just Your Average Sized Member
OK. Just about the same answer. The 57 somewhere close to the cabinet, either somewhere between the cone and surround of one of the speakers (position to taste) or literally just laying on the floor in front of the cab. Your condensor back about 3' or so but If you ain't got a good room the far mic might do more harm than good.
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mixsit
Well-known member
forgot to mention that recording would be done on distorted electric guitar
See, there you go. I was thinking 'clean blues lead.
The thing is you want to ask (yourself in these situations) first. In this case what is it you want to get (in addition to 'one mic for example.
That opens a) a clearer view of what you want (and where you are -or were), b) the chance you'll now see how and where you might begin experimenting, and... the question can be about various reasons for 'dual micing.
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mixsit
Well-known member
You also forgot to say thank you for the 4 great responses you got.
Yeah. These 'depends don't jus grow on trees you know.
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lukmen
New member
Sorry for my rudness. really big thanks to you all for great tips
aaronmcoleman
The truth is out there!
Also, you want to ask why you need two mics. the 57 alone may be enough depending on what you're doing. Everyone does something different.
I would assume one is a close mic, and the other a few feet away? You may not even want to pan them away from each-other. I'd start getting a good sound with the close 57, then experiment with getting a good sound with the condenser, then mixing them to get what you like. This is a process that is going to take a lot of trial and error.
I would assume one is a close mic, and the other a few feet away? You may not even want to pan them away from each-other. I'd start getting a good sound with the close 57, then experiment with getting a good sound with the condenser, then mixing them to get what you like. This is a process that is going to take a lot of trial and error.
miroslav
Cosmic Cowboy
I agree. There's not always a need for two mics (I can't recall the last time I used two on a cab).
I think it's easy to fall into the trap and feel that more mics = better tone or more options...and while it might give you more options where you can blend/pan multiple mics, that can also create more issues depending how you pan/EQ them.
I would only consider a second mic if I really tried with one and came up short on the tone, but most times, I would probably just grab a different mic and still use just the one.
Get the tone you want...then take one mic and find the right spot where it will pick up that tone as you hear it in the room or as you think it should sound in the mix. If that mic isn't doing it for you...pick up a different style of mic and try again.
I think it's easy to fall into the trap and feel that more mics = better tone or more options...and while it might give you more options where you can blend/pan multiple mics, that can also create more issues depending how you pan/EQ them.
I would only consider a second mic if I really tried with one and came up short on the tone, but most times, I would probably just grab a different mic and still use just the one.
Get the tone you want...then take one mic and find the right spot where it will pick up that tone as you hear it in the room or as you think it should sound in the mix. If that mic isn't doing it for you...pick up a different style of mic and try again.
aaronmcoleman
The truth is out there!
I only use two mics on electrics when I want the room sound to blend with the close, and that is only when I am not doubling the part, or for leads sometimes. Others do things differently, this is just one option. Try everything and settle on what you think is best.
RueMorgueRecord
New member
when i have been recently tracking metal genre, using a sennheiser condenser middle speaker close, and a sm 57 about 6 inches away off axis. i have found for my sound i record a set like so with my lp style guitar on treble, and i pan 100 each way on those 2 tracks, then i record another set with the guitar on rhythm, and oddly found by accident playing around that panning those two tracks both to 100% right, it creates a very full warm sound . no idea why since the lower end is both mics to the right and the highers equal pans just a cut or two higher in mix. but i favor that now with my side project currently underway. also to add my small amp rig is simply a old marshall lead 12 solid state head, thru a EH metal muff with top boost pedal, into a single 12" sheffield cabinet.
but also agreeing with the others its all to taste, style, genre, etc... there is never one absolute way to mic , even with duals. duals just provide a nicer tone since you have the speaker and rig up close and also more of the rooms tone with the other.
and lastly to add, the reason i stumbled on this is the fact im 6 tracks into this new cd, and seems like some of my guitar tracks are solid tone, but was looking of any insight or trick (eq, etc, with protools) to pop the guitars out some. as i mentioned above that what im typically rolling on mix and pan wise, and no bass guitars either. and seems in my first mix/master shot some of the guitars treble ends arent popping as much along side ministry-esc vocals. and my finals test is amazing levels all around and some of my best actually, just seems bassy on guitars, and dont feel i can just level them up more without creating some major clippage since everything is pumped up nicely now. any insight to that end of a guitar track fellas?
but also agreeing with the others its all to taste, style, genre, etc... there is never one absolute way to mic , even with duals. duals just provide a nicer tone since you have the speaker and rig up close and also more of the rooms tone with the other.
and lastly to add, the reason i stumbled on this is the fact im 6 tracks into this new cd, and seems like some of my guitar tracks are solid tone, but was looking of any insight or trick (eq, etc, with protools) to pop the guitars out some. as i mentioned above that what im typically rolling on mix and pan wise, and no bass guitars either. and seems in my first mix/master shot some of the guitars treble ends arent popping as much along side ministry-esc vocals. and my finals test is amazing levels all around and some of my best actually, just seems bassy on guitars, and dont feel i can just level them up more without creating some major clippage since everything is pumped up nicely now. any insight to that end of a guitar track fellas?