Don't use the eq on recording. I'd limit the use of it to when you are mixing down.
I read a few times to record as loud as possible with tape?? I'll try at the levels you said.
@(^*!@$)%_!@#)@!
OH that makes me mad!
Listen, that statement can certainly apply in scenarios when using open reel tape on a machine with record and playback amps that can take the heat and high output tape
and if you aren't using noise reduction and you are concerned about the noise floor because your source material has many dynamics. Did you catch all the caveats there?
There is no or should be no rule of thumb that states "record as hot as possible".
You are using a cassette-based recorder...you are using dbx. You will find the results to be better with the dbx because the tape noise floor on that format is typically too high. dbx doesn't react well to excessive levels and that's why the
manual tells you to keep your program level to right around "0" and peaks no more than +3...
Mic positioning...Well, dunno what folks have told you...hopefully not the same folks that advised you keep the levels as hot as possible...
If it were me I'd get the guitar sounding the way I like coming out of the cab, point the 57 clone directly at the speaker cone at a point about halfway between the center and the edge a few inches out and run that to one channel...if wanted a more pointed sound I'd direct it more toward the center...if I wanted a more rounded tone I'd point it more toward the edge...too meaty? Back it up a few inches...not meaty enough? Move it in. No good results? Just drape it over the top of the cabinet hanging in front of the speaker. Try 'em all. AND THEN in conjunction with the 57 clone I'd take the ribbon and set that several feet out in front of the cab and run that into a separate channel. I'd mess with the height of the ribbon and the distance but that is how I'd use the mics together and then test things out by recording the mics to separate tracks and then when playing back (i.e. the selector switch at the top of the channel strips are set to TAPE) I'd vary the fader levels of the two tracks and listen to the blend and then when I found a range that's nice, THEN I'd record both mics to one track with the mix setup to sonserve tracks...or I suppose you could track them separate and then bounce, but if it was me I'd find that mix and track them together to one tape track.
In messing with the 57 clone and getting your TRIM and level to tape set right you might find you don't need both mics, and then you could try the 57 OR the ribbon mic...try the ribbon up close and the 57 distant or just the ribbon up close.
Where does the amp sound nice to YOU? Put the ribbon there and see what you get, and don't let anybody tell you you are doing it wrong if you end up putting the ribbon down the hall you know what I mean?
