2nd mic for electric guitar

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Jakob_v

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I've recorded my guitar amp with a single SM58 (without grille) until now, but the sound always sounds boring, thin, in-a-box, etc. I'm recording a Mesa Boogie Nomad 45, with the mic pointed at the speaker cone, in a few different positions.

So I wonder if another mic will help me getting a fuller, more alive tone from my amp, as a room mic or just a mic placed a bit further away from the amp. I don't know if it's any point in going for a SM57, since it's almost the same mic. I could need some more very high treble in my tone, it seems like the sm58 cuts off a lot over 10khz (which makes the sound kind of flat).

Any recommendations?

BTW, I'm not using the best mic preamps in the world either, a 250$ behringer mixer, but I don't think better mic pre's will make such a difference as another mic.
 
try adding a mic in the back of the amp and mix. watch your phase - set it up in mono and check the sound of both of em in a signle speaker. a 57 works but my fave for this application is a "kick drum/bass" mic - particularly an ATM25 or D12.

"I could need some more very high treble in my tone"

try pointing the mic closer to the center of the cone and or boost the top eq at the amp. work with the sound at the amp. a 58 can totally work on guitars.

good luck, yo.

Mike
 
Guitar speakers themselves roll off dramatically above 10k (probably lower), so I don't think the mic is the problem. Generally, mic'ing dead on the center of the speaker gives you more highs.
 
I recently used a LDC mic (at about 2') in addition to the sm58 at the speaker. I wouldn't go with another sm5# either.
 
yeah a cheap ldc or ribbon will give you plenty of options of color to add to the speaker 58. i use a nt2 alot, i recently used the ppa ribbon with a 57 on a twin and it was a real nice blend.
 
I use a LDC about 18" away from the speaker (ifet7). It just seems to sound like the amp sounds to me (which is a good sounding amp btw). I don't do the 2 mic thing anymore with a 57 and a room mic - just never was right for me.

OTOH alot of guys swear by ribbon mics on guitar cabs (royer 121 etc). That's on my list of things to try.
 
I have a boogie DC-3, which was the predecessor to the Nomad line. I have never really been satisified with the amp tone/sound. I bought the amp 10 years ago, when I though I needed a modest sized combo with high gain.

I find the amp to be dark with alot of tone in the midrange, - I think this is typical of Boogies, and it's no Fender twin with those singing highs!

My guitar rig is:
'74 Gibson SG
'02 MIA strat
boogie DC-3
Crate combo (small)
Joemeek Pre (3Q)
Mia card
Sm57
AT3035 (LCD)

If I want to record something quick, then the boogie and strat give me a recording tone that will work, - the strat dominates the amp and I don't have to mess alot with the amp. The SG is my favorite, but I have to tweek the amp alot trying to get a tone. The AT3035 gets me closer to a sound that I like, and I think it's a fine mic.

I also use a small Crate combo amp (my son's), and though I don't prefer it, the amp sounds very different to the boogie, - boogies sound like boogies!

I've tried both mics in numerous positions ( standard published stuff), and I can't say that I have found a huge difference. I think the better recorded guitar sounds were achieved as follows:
opening the studio doors (french doors - ok so it's a home studio! :) ), the doors open out into a big room ( wooden floors, high ceilings), placing the amp on a chair, LCD mic about 2 feet away, amp - a little cranked to move some air, mom and kids poolside!

On my wish list: DMP3 pre-amp and probably a small valve Fender-like combo amp.

Hope this helps!

/mcmd
 
I have the same amp, and I find a great sound with a shure in the grill.
but I`ve also been very fortunate with studio projects b1 at 50 cm`s distance.
sometimes I mix the two together, and sometimes the b1 does the job alone, specially if I want broad and open sound, whilst the sm58 gives me the right in your face sound.

so get a b1.
 
I'd pick up the Beyer M201. When recording a brutally loud rock band the other day, it was the only mic that felt perfect... and we had access to everything.
 
it may be that you prefer a different sound (i.e. scooped). the 57 has a mid hump thing that I don't like for distorted guitar.

I prefer a MD421 over 57 any day. also, a e609S is similar to 421 but a bit brighter and a little less bottom and half as much $$$.

i'd definitely recommend mixing mics that are complementary such as a 421 and 57. often when I mic with a 421 and a 57, the 57 fader ends up close to -infinity
 
try puttin the SM 57 about 5 inches away and slightly offset with the center of the cone

and then get ..... pretty much any LDC i guess and place it about 2 feet or closer dead center

i think that will get you what your lookin for

hope this helped
Nick
 
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