the interface and mic are not going to magically make it sound good, but the 57 is pretty standard for micing high gain guitar cabs and the m audio stuff always have good enough pres if not good or pretty **** good depending on the range
first make sure you know the location of one of the speakers on the amp, you can shine a flash light through the grill or remove it and then guesstimate... when you find one of the speakers, mark where the center of the cone is (the dust cap) with a little piece of masking tape on the grill.
now start by taking the 57 and putting it about 2 to 6 inches away but pointing directly at the tape (by the way it should be a small piece of tape or you can make a little box around the center, otherwise you might block out some of the sound if you are recording at low low volumes). this is on axis center of cone, this sound will probably be alot of high end, very detailed sounding but honestly pretty harsh. next try swinging the mix on the horizontal axis about 45 degrees either left or right, this will give a warmer tone, less detail, but more body, this is called off axis on center of cone. now put the mic back to its original positon, and then move it horizontally between the center of the cone and edge of the cone, youll notice it gets more bass and body towards the edge, anywhere you put it in this set up is referred to as on axis off center of cone. and then finally, you can do off axis off center of cone, which is combining angling the mic across the horizontal plane by 45 degrees, and then sliding it from center to edge of cone.
i personally prefer the on axis off center micing position half way between the center and edge, but then i normally put up two mics or 3 mics close on the cab (all different types) and a room mic preferably tube or ribbon.
anyway some stuff to consider.
1. the edge of the speaker reproduces more bass, the center more high end.
2. adding a room reverb, not hall, but small medium or large ROOM reverb or room simulation as its sometimes called to a closed mic recording can give you a closer sound to how you hear it in the room (do you hold your head 3 inches away from the grill while blasting a dual rectifier?)
3. experiment! everyone knows what a 57 close to the cab looks like, we see it onstage all the time and we see it in the studio all the time, the biggest secret is in the studio its mostly there as a back up, we all know what it sounds like so its there just in case! try putting the mic 3 feet back, or by your head in your favorite playing position, try mounting it to a drum clip and clipping that to side of your cabinet (gives you some menacing low end as it vibrates sympathically with the cab), try taking the grill off and sitcking the mic inside the speaker, if you can afford it buy another mic and stick that 20 feet across the room etc.
4. be aware of your enemies! noisy pickups, furniture or rooms that vibrate along with your amp ( i once knew a room that would literally hum along with you and shake itself apart when you hit a D flat power chord) watch out for phase issues when using two mics (i assume youll be wanting to get the best out of your 57 so you wont be buying a second one soon)
5. dont fret about not getting a good sound (no pun intended), you have a top of the line amplifier, an industry standard mic, the best mic pres for the price, and the industry standard computer system. itll sound good eventually, no one is good over night, eddie kramer and mutt lange once swept floors in some crappy studio and probably couldnt make led zeppelin sound good going to tape if they tried!
anyway hope that helps, ill check back on this thread to see if you need more help, im not blowing my own horn but im an audio engineer professionally , its my job so I have to know stuff or I dont get paid and I dont eat!
