How many mics do you use and what type?

[polishcomedy]

For both live and studio, how do you mic your amp. What models, what positions? Multiple mics?

 

[plan-x]

I use a 57 for most applications. I just mic about an inch in, from the edge of the cone because that's what engineers do. As for recording, I haven't recorded in a couple of years but, any condenser works great in combination with the 57, using the condenser across the room for a near/far mic'ng.

 

[toneguy86]

Live I use a 57 close mic'd somewhere just to the outside the middle of the cone (maybe an inch or so from the outside edge). For recording I have experimented with 57s close mic'd and even an 58 for grins, but have settled on a 58 in a boom stand about 3 feet away and slightly above the amp pointed down towards the amp. It really makes it sound big and punchy.

Mark

 

[Telemaster]

SM57...one on each cab..

 

[Kiteboarder]

SM57 as well. One on my LS and one on my Egnater.

 

[Octavarius]

For live, I use a Sennheiser e906 right infront of the grille. Perhaps a centimeter or two away, mostly right between the center and edge of the speaker. For studio, I haven't yet nailed down my ideal setup, but I guess it would be the e906 along with a condenser for ambience/room miking.

 

[prspastor]

57 midway between between edge of cone and dustcap. This is where Ricky Skaggs' engineer miked my cab and it seemed to work very well.

 

[timmerel]

I don't mic at all - use this instead http://www.radialeng.com/re-jdx.htm - mounted inside the cabinet and permanently hooked up.

No feedback, line level for the desk, sounds like me in any setting.

 

[polishcomedy]

I don't mic at all - use this instead http://www.radialeng.com/re-jdx.htm - mounted inside the cabinet and permanently hooked up.

No feedback, line level for the desk, sounds like me in any setting.

That's pretty cool. Which output/input jack do you use to plug into there, the FX send and return?

 

[Octavarius]

I don't mic at all - use this instead http://www.radialeng.com/re-jdx.htm - mounted inside the cabinet and permanently hooked up.

No feedback, line level for the desk, sounds like me in any setting.

That's pretty cool. Which output/input jack do you use to plug into there, the FX send and return?

That would be the speaker out and "speaker in". :wink:

 

[timmerel]

I use the 35 watt speaker out to the JDX and the speaker connected to it. I was already using the 35 watt out in general.

What I like from the DI signal is that it seems to respond pretty much like the speaker, although perhaps a little "bigger" sounding if that makes sense.

 

[polishcomedy]

I have a PreSonus Firepod (FP10). Is it possible to take a cable from the speaker out of the amp and plug it into the "instrument" jack of the Firepod, or is the only way with the DI box?

 

[jaquetapus]

One SM57 per cabinet, about 1/4" from the grille, pointed straight on at the intersection of the dust cap and speaker cone. My favorite way to figure out the ideal spot is to put on some headphones and listen to what the mic's putting out, then adjust till I find the sweet spot.

 

[Octavarius]

I have a PreSonus Firepod (FP10). Is it possible to take a cable from the speaker out of the amp and plug it into the "instrument" jack of the Firepod, or is the only way with the DI box?

No, that would fry your amp.


That could only work with a special DI box or a Speaker Simulator that has an integrated (usually) 8 ohm dummy load for your speaker signal.

By the way, the signal coming out of the speaker out and slave is exactly the same, only that the Slave has an adjustable level trim pot so you can match that signal to any console/mixer/interface/audio line level input (like the Firepod, but preferably not an "instrument jack"; rather a line level input), and you can use it without harming your amp because of the lack of the necessary dummy load when using the speaker outs without a speaker connected (you still have to have a speaker connected to them while using the slave, though...).

That DI has a speaker simulator, and that's why it sounds so good. :wink:

 

[BobL]

For live, I use a Sennheiser e906 right infront of the grille. Perhaps a centimeter or two away, mostly right between the center and edge of the speaker. For studio, I haven't yet nailed down my ideal setup, but I guess it would be the e906 along with a condenser for ambience/room miking.

The e906 is one of the better mics available for a guitar cabinet and the real tone of the instrument comes through well. The SM-57, although popular remains popular because it's cheap, not because it's a good mic. I am currently using Heils, specifically the Heil PR-40 on one Lonestar and the Heil PR-30 on the other. Nothing comes close to these mics in or out of the studio, period. These mics are capable of sustaining over 145db and will reproduce 20-20K. Unlike any Shure they don't have a mid range hump and have flat frequency response. If you can't afford a 35 or 40 then I suggest the PR-22, also an incredible vocal and snare mic. I'll end by saying that even though Bob Heil and I are friends, if there was a better mic in my mind then I wouldn't be using the Heils regardless.

I won't and don't use a DI of any type. The speaker is a part of the tone. For best results place the mic so that it is at 90 degrees from the cone, not straight into the cone. Also, don't hang the mic over the top, that's just another bullshit way to say "I'm lazy and don't care." Experiment. Put a mic behind the cabinet if you're using a combo, and move the mics until you find the sweet spot, then mark the grill using tape. If you have more than one speaker test each speaker until you find the speaker you think sounds best. Above all, have fun.

 

[Octavarius]

For live, I use a Sennheiser e906 right infront of the grille. Perhaps a centimeter or two away, mostly right between the center and edge of the speaker. For studio, I haven't yet nailed down my ideal setup, but I guess it would be the e906 along with a condenser for ambience/room miking.

The e906 is one of the better mics available for a guitar cabinet and the real tone of the instrument comes through well. The SM-57, although popular remains popular because it's cheap, not because it's a good mic. I am currently using Heils, specifically the Heil PR-40 on one Lonestar and the Heil PR-30 on the other. Nothing comes close to these mics in or out of the studio, period. These mics are capable of sustaining over 145db and will reproduce 20-20K. Unlike any Shure they don't have a mid range hump and have flat frequency response. If you can't afford a 35 or 40 then I suggest the PR-22, also an incredible vocal and snare mic. I'll end by saying that even though Bob Heil and I are friends, if there was a better mic in my mind then I wouldn't be using the Heils regardless.

I won't and don't use a DI of any type. The speaker is a part of the tone. For best results place the mic so that it is at 90 degrees from the cone, not straight into the cone. Also, don't hang the mic over the top, that's just another bullshit way to say "I'm lazy and don't care." Experiment. Put a mic behind the cabinet if you're using a combo, and move the mics until you find the sweet spot, then mark the grill using tape. If you have more than one speaker test each speaker until you find the speaker you think sounds best. Above all, have fun.

Thanks for the mic tips! Very handy!

I thought I'd also chime in with the more expensive option of quality miking: ribbon mics (check out http://www.royerlabs.com/R-121.html), though it absolutely isn't for the average budget musician.

Definitely agree with the SM57. It's a classic for sure, but it's still not an especially good microphone. It's very good for the money, though, but for natural, shimmering, tube clean guitar sounds, I favor better mics. But I can definitely see that for direct, somewhat flat overdriven rhythm tones (a la Petrucci, etc.), the SM57 does suffice plenty. I had both for a while (the SM57 and the e906) and for my need the e906 was conciderably better sounding to my ears. I'll check out those Heils, though!

 

[mommysboy]

Sorry to dig up a really old thread...

Is the SM57 still the best economy mic for on-stage LSS mic'in?

 

[zm4]

I have used both and there is a detailed diffrece from the 57 and 906e. You can get by with the 57, but to hear what the amp really sounds like the 906e is the way to go. The filter switch is also very hepful.

 

[bduersch]

When I gig, I typically keep it simple and use either an SM57 or e609, about half-way between the dust cap and edge of the speaker.

For recording, I use two mics... a Blue "Ball" dynamic mic dead-center on the dust cap and a Cascade FatHead ribbon mic towards the edge of the speaker. I blend the two and typically pan them to different locations in the mix (typically the Blue mic is panned hard right/left since it picks up brighter frequencies while the Cascade mic is panned closer to center).

--B

 

[mommysboy]

I ended up going with the Sennheiser e609 and like it alot so far.
http://www.sweetwater.com/store/detail/E609Silver/