Guitar cab micing technique

  • Thread starter Thread starter Hard2Hear
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Hard2Hear

Hard2Hear

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I was wanting to share my guitar cab micing technique and maybe get some feedback.

I have found this works so well, I have been sticking with it when doing all my recordings. I am dealing with medium sized combo amps, specifically mainly a Vox AC30 and a Fender Blues DeVille, though I use other amps also. I place an AT4033 on a boom going downward from the side-front and place it 8" to 1' infront of my favorite speaker in the amp. Then, I place a straight mic stand in front of the amp on the other side, use a king sized comforter and drape over the entire thing. It encloses the entire amp and the mic stands to where they are not visible.

I don't have a nice studio setup like many of you do. And I won't be able to set one up until I buy a house, which will be years away. But this has been getting me a great electric sound lately and I just wanted to share with anyone who might be interested.

H2H
 
Here's my two cents

That sounds good, but i have a pretty good setup for those of us with even less money than that.This is for those recording from practice amps(peavey rage 128 style) I use an SM57 pointed straight at the amp, and another dynamic mic set right behind the speaker, and comforter over the whole thing. this got me personally the best results form teh gear i am using.
 
H2H-

I use an AT4033 with my Hotrod Deluxe, about 2 feet away. The Deville is an amazing amp, but they are incredibly loud for 60 watts. Fender makes some great amps these days.

I'm reading the book "Behind the Glass". Alan Parsons says the AT4033 is his favorite vocal mic. I love that, when someone with real talent and experience validates a piece of gear that I own. It's an interesting book.
 
Hey WA - isn't that an AMAZINGLY INFORMATIVE book? I couldn't put it down!

Bruce
 
Bruce-

I just got the book, so I'm only half way through it. It is a MUST read for anyone into recording. There are some interesting bits of info. you can pick up....I only wish they went into more detail about miking drums.

I fall into the the habit of recording things the same way everytime, and some of my recordings are starting to sound really similar. There are a lot of examples in this book about doing unorthadox things, and experimenting.
 
I think...

...it should be required reading for all!

(Since you haven't read it all yet, I won't tell you how it ends!!!) ;)

:D
 
...

I use 2 mics.... a mic in the ususal cone meets coil area, and then mic again somewhere else on the speaker, pref in the warmer sounding (less high end) areas of the speaker. After you track, blend the 2 and write it down to a single track. Make 2 tracks this way (a total of 4 written to 2 tracks) and pan them. Pretty fat. Make sure they are the same distance away, or pretty close so you dont get phasey.
 
...

Try this also for distorted rhythm guitars...
mic one close, ususal spot, and one 8-12 inches back, same height pointing at same place, same angle, etc.
Record both tracks separately but simultaneously.
Now, leave your close mic panned center.
Copy the distant mic to another track, making 3 tracks total... close, distant and distant.
Now, pan the original distant track hard left... pan the copied one hard right. Set all levels even.
Phase reverse the copied track, and then listen to the effect and see if you like it. Should make it wander a little.
Picked this up somewhere a while back, theres some math to it somewhere, but don't ask me any questions... its not my invention. Do tell me if you like it, though. :)
 
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