LeeRosario
New member
Looks pretty?
Myriad_Rocker
New member
I was more looking for a, "yeah, looks like you're going about it the right way" or a "no, no...you've got it all wrong. you might try...etc".
J
jaybriggs84
New member
send a clip
Vagodeoz
One-Man-Band
Yeah, you got a very nice gear but the only thing that counts is sound. No one who listens to your songs will see how you miked the cabinets (even if they care)
C
chessrock
Banned
I don't know that, of all the options available, I would be inclined to choose to mic the very bottom speaker.
I'm also not too sure what I would do with all those mics.
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I'm also not too sure what I would do with all those mics.
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Sonixx
New member
FWIW, I would go with the 57, track a guitar DI representative of what you're going to record, loop the DI track and feed it to the amp (reamp it)... adjust the amp and mic position for the tone you're after whilst monitoring using phones or your studio monitors.
P
PhiloBeddoe
New member
There truly isn't too much advice that can be given here. There are no showstoppers in your setup, but you really just have to listen. Throwing up 3 mics positioned only by eye could simply give three bad sounds that will sound worse when blended.
IMO, dial up a good guitar sound on your amp then sweep the 57 across the speaker until you have a good usable sound. Record a pass and make adjustments to the amp and mic from there. Personally I'd start with the 57 closer to the cloth and not dead center (looks that way in the photo but I can't really tell). Then add the other mics and blend to taste (or not at all). An awful lot of records are still made with a single 57.
If you want to time-align the mics to minimize phase issues and if you have a DAW, record a palm mute click on the high E string and check the alignment of the peaks in the DAW of the three mics. If, for example, the peak of the E609 appears later than the 57, then move the E609 closer.
OTOH, the phase differences of the mics may sound glorious together! Again, you just have to listen.
If you want one of the mics to provide some ambience, you may want to move it further back.
That's all I can think of at the moment. No real rules here.
D
danny.guitar
Guest
Looks to me like it's going to sound like <insert name of those 3 mics here> pointed at <wherever you're pointing them (bottom of speaker? 
) and possibly sound like those <name of 3 mics here> together if blended.
) and possibly sound like those <name of 3 mics here> together if blended.
C
chessrock
Banned
Looks to me like it's going to sound like <insert name of those 3 mics here> pointed at <wherever you're pointing them (bottom of speaker?
I've trained you well. That sounds like a Chessrock answer if every I've heard one. I'm proud.
Seriously, though. Get those mics up on one of the top speakers. There's a reason why lifting your amp up off the ground can have a positive effect. And you've got a mesa cab there - and the top speakers already have a bit of built-in altitude. So you don't even have to do that. Move those mics up, and you'll be set.
Another comment regarding that amp; you realize it's a freakin' beast that will rip your head off, don't you? And you realize that, in order to get that thing at an optimal gain / master volume setting ... you run the danger of getting evicted instantly if you're renting ... kicked out if you live with someone ... or in jail if you have a really bored cop.
If your living situation is even a bit tenuous, then I might recommend something with a little lower wattage and a few less speakers. Or at the very least, make sure to do it during a time when people aren't trying to sleep. And bring your neighbors beer..
Y
yoyo
At your service
Yeah, i would mic both the top and bottom speakers. Maybe the sm57 on thbe bottom and the others (e609? and something in a shockmount (?) to the top LEFT speaker. My opinion tho.
Myriad_Rocker
New member
Thanks for the reply. This helps. Yes, I know the "beast" that I have. I've had it for long enough.I've trained you well. That sounds like a Chessrock answer if every I've heard one. I'm proud.
Seriously, though. Get those mics up on one of the top speakers. There's a reason why lifting your amp up off the ground can have a positive effect. And you've got a mesa cab there - and the top speakers already have a bit of built-in altitude. So you don't even have to do that. Move those mics up, and you'll be set.
Another comment regarding that amp; you realize it's a freakin' beast that will rip your head off, don't you? And you realize that, in order to get that thing at an optimal gain / master volume setting ... you run the danger of getting evicted instantly if you're renting ... kicked out if you live with someone ... or in jail if you have a really bored cop.
.
I well know it's loud as all hell. I live in a house with only my wife. She doesn't care. There aren't any houses across the street and my neighbors are pretty cool. I didn't have ANY complaints from them when I have done drums. And in my entire time living at this house, I have yet to see a cop on my street. I've seen them on connecting streets, but that's it.The thing I noticed last night during test recording is that it sure is awefully bassy when monitoring from the studio (upstairs). I have the cab downstairs. I'm sure if I turned it down, it wouldn't be so bassy. I had the amp turned up louder than I ever have before. Even for live shows.
Anyway, I'll heed your advice, chessrock, and move my mics up to one of the top speakers (whichever one I think sounds best).
X
xstatic
New member
To de-emphasize the LF content, you could also focus some of the mics more towards the center of the speaker, but don't be afraid to roll some lows off at the head as well
amra
Well-known member
+1
But going by visuals alone, I would have had at least one of those off axis by about 45 degrees, just to give some options.
BushmasterM4
Well-known member
Test all speakers. Each will be a little different. And you never know, one may be alot different (going bad or was bad). I think you should shove the 57 up close and use the others at different lengths away fron the enclosure for room ambience.
bkkornaker
www.bryankmusic.com
i really dont see the point in having the 2 large diaphram mics on each end. I can see the SM57 in the middle, and one large diaphram on one side.......
but why have 2 of them, one on each side? arent those 2 mics basicly capturing the same tone?
but why have 2 of them, one on each side? arent those 2 mics basicly capturing the same tone?
punkin
Univalve & Avatar Speaks
Yeah same here...if it sounds good, then fine. My experiences has me putting a large diaphram out about 3 feet in front and about 3 to 4 feet up. But hey, that's what works in my room with my cab and my one good ear
Good luck
Good luck
WhiteStrat
Don't stare at the eye.
If I'm seeing correctly, the mic on the right side of the 57 (the one with the silver front) isn't a large diaphragm condensor, but a Sennheiser e609. It's a dynamic that has a different flavor than the ol' tried and true 57.
I've tried the same combo many times, with the thought that I'd mix to taste, but I hardly ever even use the track from the 609. I've got an old Unidyne III 57 that I just love all by it's lonesome.
I'll keep trying with the 609 though--sure it will work somewhere, for something!
I've tried the same combo many times, with the thought that I'd mix to taste, but I hardly ever even use the track from the 609. I've got an old Unidyne III 57 that I just love all by it's lonesome.
I'll keep trying with the 609 though--sure it will work somewhere, for something!
LeeRosario
New member
I'll admit I was being a smartass, but in all seriousness and with total respect...
It's impossible to throw up a picture like this and say, "now figure out which one sounds the best".
It's like posting a picture of 3 different paint brushes and saying, "how does it look?". It looks like 3 paint brushes.
Any other information? What are the acoustics like? Preamps availible? Whats the condition of the cab? Sound clips, with tracking notes for us to listen and compare? How do you plan on micing this?
You see, cause it can end up that the SM57 ends up being the perfect mic for the task, but whos to say the 609 may not have a particular quality that works better? Then you'd have to figure out how your tracks stand against drums, bass, etc. It's hard to give good advice off of one picture.
Just my opinion though.
Myriad_Rocker
New member
After testing some stuff this afternoon, this is what I came up with...
I changed the mic positions. I have the 57 on the top right speaker, off axis. I have the e609 on the same speaker off axis, but not as much as the 57. I then put the 4033 on the left speaker, just a bit from the cone on the left side.
The mix is 609 & 4033 on the left, 57 on the right. Volume adjusted accordingly, of course.
Here's a sound clip. Please excuse the riff. It's the first thing that came out when I hit the record button. Also, it's not very loud, which was intentional.
Sound Clip, MP3, 192kbps
As far as pre's available...I have a Chandler Germanium sitting in a box on the floor that I need to ship out. I recently sold it and am waiting on payment. I am going to replace it with an API Lunchbox with either a Great River MP-500NV or an API 512C. I have not totally decided yet. Right now, I have the mics going through my pres on my RME FF800.
Cab is downstairs with 703 around it (pictured above). Cab and mics are plugged into a Pro Co snake that goes upstairs. Upstairs is the amp head, guitar, and DAW.
For potential guitar mics, I only have a handful. 57, 609, 4033 (not really a guitar mic), i5, SM7...
EDIT: Forgot to mention that I checked the phase of all the mics with each other. There is just a tad bit of phase. When I flipped the phase on any given mic in relation to another, there's just a bit that I can still hear. So, they don't totally cancel each other out...but I guess that'll be okay, right?
I changed the mic positions. I have the 57 on the top right speaker, off axis. I have the e609 on the same speaker off axis, but not as much as the 57. I then put the 4033 on the left speaker, just a bit from the cone on the left side.
The mix is 609 & 4033 on the left, 57 on the right. Volume adjusted accordingly, of course.
Here's a sound clip. Please excuse the riff. It's the first thing that came out when I hit the record button. Also, it's not very loud, which was intentional.
Sound Clip, MP3, 192kbps
As far as pre's available...I have a Chandler Germanium sitting in a box on the floor that I need to ship out. I recently sold it and am waiting on payment. I am going to replace it with an API Lunchbox with either a Great River MP-500NV or an API 512C. I have not totally decided yet. Right now, I have the mics going through my pres on my RME FF800.
Cab is downstairs with 703 around it (pictured above). Cab and mics are plugged into a Pro Co snake that goes upstairs. Upstairs is the amp head, guitar, and DAW.
For potential guitar mics, I only have a handful. 57, 609, 4033 (not really a guitar mic), i5, SM7...
EDIT: Forgot to mention that I checked the phase of all the mics with each other. There is just a tad bit of phase. When I flipped the phase on any given mic in relation to another, there's just a bit that I can still hear. So, they don't totally cancel each other out...but I guess that'll be okay, right?