Condenser for guitar amps

[iownrocknroll]

I am looking for a condenser microphone to use with guitar amps.

I've been using some combination of the following for my guitar sounds.

SM57, SM57beta, KCM-25 ribbon, Rode NT1-a(room mic)

I haven't been able to get a good sound out of the nt1-a while right on the amp.


Any suggestions.

 

[Dogbreath]

You goin for a clean or dirty sound?

For dirty, I usually just put the 57 up on the grill and fart around with placement a bit til I find the sound.
???

For clean, I'll use a LDC out in the (treated) room anywhere from a foot to in the middle of the room with (maybe) the 57 still up on the grill and blend the 2 together.

Or sometimes not.

What do ya think is wrong with your sound?

 

[iownrocknroll]

Clean and dirty guitars, everywhere in between and the extremes.

What I'm noticing in my mixes, is that the guitar really seems to be about the 500hz, 1k, 4k range.

I'll take out below 100 and maybe take a little out of 250, but it really seems those other frequencies are what make it sound clear, and cut through as well as leave for for everything else.

 

[Weasel9992]

For dirty, I usually just put the 57 up on the grill and fart around with placement a bit til I find the sound.

Dirty or clean, the SM57 is what I reach for much of the time. With that mic it's all about placement. I also reach for my Cascade Fat Heads a lot too. The only time I used LDC's on electric guitar is way out in the room if I'm looking for a bunch of natural reverb.

Frank

 

[Seafroggys]

kickass combo I use is the e609 up front and a Fathead II ribbon about 4 feet back. Killer sound!

 

[iownrocknroll]

The big studios I've recorded in, in Pittsburgh, NYC, Chicago, etc...all used like 6 months on 2 or 3 amps.

Normally some combo of sm57, sm57 beta, U47fet, Royer 121, Some Beyer Ribbon, MD421, and normally a room mic.


I've trying to go with a similiar setup at home, however, just haven't found the right condenser and I am using cheaper ribbons.

 

[Big Kenny]

cheap ribbons work fine

 

[Weasel9992]

cheap ribbons work fine

I agree.

LDC's can work well as distant room mics.

Frank

 

[darrin_h2000]

Ive personally been avoiding the cheap ribbon thing for now...waiting for a company with a reputation to make one affordable...but for distance mic on an amp they might be OK.

I use a LDC 5 ft away with an SM57 off axis...only on the lead guitar tracks...rythem is done with a single 57 in an isolation cabinet I built...so I can do it at the same time as drums and bass.

 

[Weasel9992]

Ive personally been avoiding the cheap ribbon thing for now...waiting for a company with a reputation to make one affordable...

Cascade Fat Head II...fantastic. Unbelievable for the money. It's not a 122, but it's very, very good.

Frank

 

[witzendoz]

Hi,

I always use a NT1 on guitar cabs up close, if you can't get the sound you want try moving it around, towards the centre of the speaker for more top end towards the edge of the speaker for more bottom end.

However my favorite is the NT1 and a 57 together, just check that they are in phase and the blend of the 2 mics will get almost any sound you want.

I also did a blues album recently where I used a NT1 and an omni (sennheiser ME20) which sounded very open, more of the NT1 with a blend of the omni, sounded almost 3 dimensional, however this also depends on how good the room sounds.

Cheers

Alan.

 

[Richard Monroe]

I use AKG C2000B about 12" from the grill and a dynamic up close. AKG D320B, or SM57, SM7B, AKG D660, D770, or D3800. If it's an open cab, I use a D112 on the back, with the phase reversed. I've tried a bunch of condensers on cabs, and always come back to C2000B. Why? It just works. Often, I don't even use the dynamic in the final mix. It's usually just C2000B with or without the D112.-Richie

 

[greyharmonix]

it's all very subjective. one guy will tell you one thing the other will tell you something else. Trail and error is the only way to really figure things out. especially when dealing with different types of guitar tones. obviously some mics will do better with different tone than others. it depends on the guitar tone and the room and that is a unique and specific to every case.

 

[ausrock]

Like everyone else, I usually reach for the 57s for amp duties, sometimes with a LD as well but I got a total surprise when doing some "sketch" recordings and I grabbed whatever mic was already on a stand..........an MXL603 placed approx., 6" off my Rivera

 

[Richard Monroe]

it's all very subjective. one guy will tell you one thing the other will tell you something else. Trail and error is the only way to really figure things out. especially when dealing with different types of guitar tones. obviously some mics will do better with different tone than others. it depends on the guitar tone and the room and that is a unique and specific to every case.

What he said-Richie

 

[jarrydee]

get a sm7b, good on guitar and vocals..I just bought mine new for $310.00

 

[darrin_h2000]

The nice thing about dynamics is that they are alot more hardy than condencers and you dont have to be as concerned about buying the used ones...mine was $80

 

[antichef]

I'm squarely in the cheap ribbon camp, especially if you can replace the stock transformer with a Lundahl or something else that's better. I did a shootout with a bunch of dynamics and the cheap ribbons sounded better (and were easier to work with regarding placement) to me.

I've tried a few condensers, but haven't explored too much, mostly due to crappy results I've got with the few I've tried with them up close -- mainly searing sizzleness -- could be due to placement -- I've seen and heard them used as room mics for amps with good results (I've used a C414 that way and liked it).