Studio Projects (or other cheap condenser mics)

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cellardweller

cellardweller

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Would any of the Studio Projects mics be useful for micing distorted guitars? I've been considering buying one for vocals...

If not, is there another somewhat inexpensive condenser that would be more fitting? Preferably $100-$200, but at any rate not exceeding $300.
 
Well, I don't like the word cheap because there are plenty of good innexpensive mics out there. Our B1, and C1 are good choices for micing up guitar amps, but there are many factors involved to getting a good sound, as well as plenty of other good brands out there that can do the job.

Dynamic mics are also good for cabinets, just not as rich sounding IMHO.... So in the end, I suggest you own both a good dynamic and a good condensor mic for this kind of application.
 
Would any of the Studio Projects mics be useful for micing distorted guitars?

The Studio Projects B1, B3, C1, or C3 could work. One of my favorite guitar amp mics is the Sennheiser MD421.

I've been considering buying one for vocals...

The C1 is worth auditioning... and I've read many people like the T3.

If not, is there another somewhat inexpensive condenser that would be more fitting? Preferably $100-$200, but at any rate not exceeding $300.

There is a lot of other budget mics besides Studio Projects... there is Oktava, Marshall, Behringer, and etc... they all sell budget mics. Like the V67G, MC-319, and etc.
 
There does seem to be some magic (or not so magic) point where if the amps volume and distortion become way fricken loud, the subtle differences between quality mics becomes less obvious. If the distorted guitar is playing at a kajillion db's, then its really only splitting hairs. If the distorted guitar is played through an amp at reasonable volumes, you might find a mic who's sound fits the sound you are more after.
 
For guitar amps, I like the Studio Projects B1. I find the C1 a bit harsh for this app but I know at least one Nashville pro who likes it on an amp.
 
This is really more of general sort of thing, but I find that a lot of the times a large diaphragm vocal condenser works really well on a mostly clean to slightly overdriven amp.

Just about any will do, really. Whatever LDC you'd normall use on vocals, although I'm partial to something with an "Audio Technica," "Shure," or "Blue" logo on it (especially if it's shaped like a bug).

For the real heavy stuff, though, they can be a tad fizzy. Hard to describe. Time to pull out the dynamic.
 
FWIW, i really like the B1 on guitar amps. i think this is one of the applications it shines best in......much more so than it shines in vocals, IMO. i like the B1 about 4-6ft back, and especially in combination with a dynamic (generally) off-axis up on the grille cloth. watch out for phase anomalies (or move the wav file or use a slight delay to compensate post-tracking) and i've yet to have an amp track that wasn't at least usable. especially, as chessrock said, if it's a clean to mildly overdriven amp.

now, when you start cranking that distortion up to shred, the mic you use is gonna be the least of your worries. it'll be more like "why's this sound so bloody thin?" a little distortion goes a long way in front of a mic. double or triple track that part with 1/3 of the "normal" distortion and you'll likely find yourself in a much heavier world. takes some chops to do that, though.

anyway, here's a big thumbs up to the B1 on amps. FWIW, i've always looked at the B1 as an MDC (it's not *really* an LDC) analogue to an sm57.


cheers,
wade

PS--the V67 isn't too shabby on some amps, either.....but its inherent darkness (compared to the B1) sometimes just isn't what i'm usually looking for when recording low-wattage tube amps. maybe for a big, trebly marshall stack, though.....
 
Wow!!

Thanks, you have WAY exceeded my expectations for responses! Not sure if I'll go with the B1 or the B3 yet though...

BTW, I do use a SM57, and am looking for something to "compliment" it.

So what is the standard setup for eliminating phase cancellation? I've read one explanation than kinda lost me somewhere, but it's been a while.

Thanks,
CD

PS If this is already covered somewhere, kindly point me in that direction :)
 
glad we could help!

keep in mind that the B1 and the B3 are tonally different animals. so don't buy a B3 expecting to get a multi-pattern B1........

as for phase relationships.....you'll hear it. people talk about "rules of thumb" when it comes to mic placement (distance between mics relative to source, etc.), but i've always preferred using my ears. when you've got a phase problem, you'll hear the signal thin out. let's put it this way.....you put the 57 on the amp and you get one sound that's not half bad.....then you put the B1 up and if you wonder "WTF happened? it sounds like MaryKate Olsen looks!"......well, that's a phase problem. :D do a search on "phase relationship" or "phase" and see what you get. i think Harvey's big mic thread also covers it, but it's been a while since i've read that, so don't quote me--it's almost 2am here. :b

if you're recording to computer, you can easily see it--the wavforms don't exactly line up....one's slightly behind the other, usually by 2 or 3ms. just slide one over until they line up, or use a delay on the "earlier" one. i prefer lining them up.......but i FAR prefer not having them at all.


cheers,
wade
 
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