What's the Best Mic's for recording Guitar Amps?

[BobL]

steve albini included, anyone that talks negative about the 57 is a complete idiot. i'm sorry.

The SM-57 has been a go to mike for a long time, and that's the problem. Putting a mike on a cabinet does not insure results. The mic and the guy sitting at FOH are the other key elements. I not only play professionally, but I am also a pro sound engineer and I have plenty of bad things to say about an SM-57, and plenty of good things as well. Maybe that makes me a half idiot.

There are plenty of mics much better than the venerable 57, and a few have been mentioned above, but more than anything placement will be the deciding factor in the sound you hear. Currently I wouldn't waste my time with a 57. What I have found to be the biggest bang for the buck is the Heil PR-20 or PR-22. They have a very flat response, do not color the sound, and have bottom that no other dynamic can give.

Lockbody came closest whith his statement, especially the condenser remark. There is no one mic best for the job, but there are 3 dynamics that will do the job better than most condensers, and I'm not saying better than most budget mics either. I mean better than most. The Heil PR-40 PR-30/35, and PR-20/22. Very high spl rating, very low proximity effect, very natural sound. great pricing. Also, be aware that ribbon mics are much to fragile for use outside of the studio.

 

[mrd]

I picked up an Apex460 tube condenser a while back, and I'm loving it.

I put a low gain ECC81 12AX7 in it so it doesn't over drive as easy, and the power box that i comes with has a 9-way polarity pattern selector which is great. Sounds fuckin' cool when mixed with an e609, I haven't tried it with my 57 yet.

It's pretty cheap too.. I actually got it used for about $150, but I think even new, it's only about $300 or so. Definitely worth it, especially with all those polarity settings 8)

 

[bsd56]

If you dont like the 57 you should try the Audix i5, its quite a bit fatter but still kinda has the same vibe

 

[sick-guitars]

Hi

I'm very happy with the Sennheiser e609. I couldn't get good results with the SM57.
Try also the SPL Transducer!!! I'm very happt with it! Best is the combination e609 and Transducer!!! :shock: 8) :lol:

 

[primal]

I use a single sm57 but will probably add a condensor soon.

As a poster above mentioned, it is all about mic placement.

I did an experiment to find the best mic placement for me.

I started with the mic on the far left edge of the speaker facing directly at it. I recorded myself playing a song on track 1.

I then went and moved the mic towards the center of the speaker 1/2 inch. I then proceeded to record the exact same song on track 2.

I did this over and over again, adding tracks till I got the mic dead center of the speaker.

I then went back and flipped between the tracks. It is trully amazing the difference in sound you get by moving the mic no more then 1/2 inch. It was a very big difference in tone.

For me my sweat spot was 2 1/2 inches from the edge of the speaker.

 

[LEVEL4]

SM57's are fine. The pro's use a variety of mics depending on the situation. I use a combination of mics at my studio. They usually entail a SM57 and a AT4050. Sometimes a U87 or a AKG414 as a ambeince mic.

Hey! I have an SM57 and an Audio-Technica AT3035 LDC. I've heard that the AT4050s are pretty popular mics among studio engineers. Is it that different than the 3035? I was thinking of getting a 4050, if it's in fact that much better than my 3035. I would then relegate my 3035 for use as an input mic for the vocoder on my Roland V-Synth GT. Also, what do you think of the Cad Trion 1000 ribbon mics?

 

[tedsticle]

I recently purchased a sm81 and used it on acoustic. I'm really happy with the results.....I know I could make it better using another mic at the same time though. When it came to electric I have gotten an OK sound so far, but I go to school and we a/b'd the sm81 with a 421 and it was obvious the 421 kicked its butt.

 

[phyrexia]

I found the "perfect" mic position a week ago with my E609 on my thiele cab. I have used the 57 but I have yet to find the magic spot.

I am thinking about micing the port with the 57 to get some of that sound and micing the speaker with the 609. haven't had a chance to try that out.

 

[Jhon]

I've got a Neumann U87 and I've always hesitated to utilize it for recording some loud amp cabinets for fear that the sheer volume of it will cause the microphone to be less sensitive or damaged in some way . . . I use that microphone for MOST of the vocals that come into my studio and it would break my heart to be without it for a period of time while it was being repaired.

Do you know if I can damage the U87 with a loud amp cabinet? Honestly, we use lots of amps and I never turn the things up TOO much anyway . . . but what if we do? Will it ruin the mic???

ALSO, we've got an Avalon 737 and a Universal Audio 6176 to plug it into . . . any opinions on which one would be better? I'm just trying to get some opinions from the experienced souls out there.

-J

 

[joe web]

i use the SM57 in combination with the cheap Samson C01 or C03 mic.
the C01/03 delivers my the right tone of the mesas and the SM57 adds some bite to the overall sound.

 

[EirikBrandal]

I'm a bit like "2+" on the Audix i5

 

[Elpelotero]

my engineer used a Neumann U87 when he recorded my Dual Rec and 4x12 a couple of years ago...No problems that I'm aware of.

 

[Aramism]

steve albini included, anyone that talks negative about the 57 is a complete idiot. i'm sorry.

The SM-57 has been a go to mike for a long time, and that's the problem. Putting a mike on a cabinet does not insure results. The mic and the guy sitting at FOH are the other key elements. I not only play professionally, but I am also a pro sound engineer and I have plenty of bad things to say about an SM-57, and plenty of good things as well. Maybe that makes me a half idiot.

There are plenty of mics much better than the venerable 57, and a few have been mentioned above, but more than anything placement will be the deciding factor in the sound you hear. Currently I wouldn't waste my time with a 57. What I have found to be the biggest bang for the buck is the Heil PR-20 or PR-22. They have a very flat response, do not color the sound, and have bottom that no other dynamic can give.

Lockbody came closest whith his statement, especially the condenser remark. There is no one mic best for the job, but there are 3 dynamics that will do the job better than most condensers, and I'm not saying better than most budget mics either. I mean better than most. The Heil PR-40 PR-30/35, and PR-20/22. Very high spl rating, very low proximity effect, very natural sound. great pricing. Also, be aware that ribbon mics are much to fragile for use outside of the studio.

not saying nothing else is good but it is the safest bet and i think considering there are so many options. dynamics, condensers, ribbons etc. i think with a gun to their head most succesful engineers would use a 57 on a standard rock project. it has been the main mic behind tend of thousands of recordings. there are plenty of engineers who get unbelievable tone out of one 57.

once again, i'm sure there are many other mics that work well from royer ribbons to u87s but at the end of the day it is just a winning combination. me personally, most of my favorite guitar tones, as a matter of fact, pretty much all of my favorite guitar tones have been recorded (most of them soley) with a 57. this spans anywhere from van halen to arch enemy. 57 all the way.


ps - i've used other microphones as well and blended them and the results are good but if i were stuck on an island for a studio and i could choose one mic to record guitars for eternity it would be the 57. i'm sure there are plenty other engineers who feel the same way.

 

[ak47]

An interesting read....

Any suggestions out there for miking up the following cabs in stereo?

Quad pre / Strategy 500 into:

1/ Marshall JCM900 lead 1960B 4x12 - left
2/ Marshall JCM800 bass 1552 2x15 - right

Thanks in advance for all your thoughts...

 

[Setzer]

I mentioned this in another post and thought I would mention it here to see if anyone has had any experience.

I read an interview with Chris Tsangarides about recording guitars and he raved about the T-Bone RM700.

He said he was a mic snob and these are his favourite mics now,the bass is meant to be awsome from them.

Anyone had any experience of them? I have added one to my "list".

 

[guitarsawicki]

I have tried these:

audiotechnica AT4033 - not good - I have it
Shure SM57 - good - I have them
Shure SM58 - not good - I have them
AKG D321 - very good
AKG D125 - good
AKG C414 - good
AKG C535 - not good - I have it
AKG D112 - not good - I have them
AKG C1000 - not good - I have it
Sennheiser 409 - very good
Sennheiser MD421 - best so far - I have it

These are my opinions of course.

 

[soundchaser59]

I have tried these:

audiotechnica AT4033 - not good - I have it
Shure SM57 - ok, but not my taste - I had one
Shure SM58 - didn't like it - I had one
AKG C414 - good, great, awesome! I use this one
AKG C535 and D770 - not good - I had them
AKG C1000 - not good - I had one
Sennheiser MD421 - want to try it, heard nothing but good about it
E609 - good, not my taste - I had one
SM7 - great - I have one
EV ND468 - good - have one and use it with the C414
RE20 - good, but not my taste - I had one
EV NDxx7 (767, 967, 457, 468, 757, 357, 257) - had them all, only the 967 was ok, but I sold it and kept the 468
Fathead I and II - Ok, unique sound, not my taste - I had these
Apex 210 and 215 - Ok, good sound, not as good as the SM7 - I had these
PR30 - great sound, rather have a PR40 - I had this one


These are my opinions. My best suggestion is always use at least 2 different mics on your cab. I prefer large diaphragm dynamics, and it's best if you can mix types, like a dynamic and a condensor, or a dynamic and a ribbon, etc. especially if you can have one of them be a figure 8, then you can play with the stereo field more.

 

[helen_bach]

Hi!
Rough one...
For just a single mic, I would most likely go Royer 121 first. Set back a bit, get positioning like I want, and go.

I prefer using a very clean pre, no compression (though some LOVE using a DIstressor), and depending on the setup (single, stereo, w/d/w), more than one mic. I like a 57 closer up, but not right on it. I think it grabs those little nuances and such.. pick attack, fingers on the strings, speaker breakup and air movement, etc. Add a 121 pulled back, and now I have more of the sound after it breathes a little. Large diaphragm of some kind a few feet back, and now I have "what I would hear while playing" going to tape. Watch for phase issues, but otherwise I then have a great set of sources for blending.

To make it even more fun and interesting... I love doing an "X" style speaker load on a 4x12. Get that cab off the ground first (always!!!). I prefer to slave the amp head (dummy load, and then use a speaker to line out box to send to a power amp), and use a stereo power amp. Feed each speaker type with one side of the power amp, raise levels of each to taste. 57 on one of each type (2 total), then pull back a 121 that will capture a bit of blend, and then two large diaphragms a few feet -> several feet back, little spread, capturing the whole shebang. Once again, blend to taste.

With the number of tracks and flexability we have today, it all comes down to how much "Mad Scientist" you feel like being, vs "Just put a **** 57 on the top cone already!"

w/d/w rig is even more fun, and of course.. two guitar players, eahc using w/d/w!

Oh- panning hint... when mixing, remember that drums do not have the sound coming from the full sound stage spread (panned full left or right). That would be a really, really wide drum kit that no human could play (very well). Guitars are also almost never full left or right in "real life." Try pulling them in a bit, and using the further pulled back mics (if used) to push the edges, and then use verbs and delays to "fill the acoustic sound stage edges." Of course, you could go old school and EVH early days it, or Beatles.. or whatever. Put the drums in one, the guitars and bass in the other.. lol.. Mad Scientist!!!!

 

[Anonymous]

The best Mic ever for the "high end" mesa sound is a high end mic which can capture the sound of my v30's in any detail.

For reproducing the sound of a celestion 12" speaker naturally, it will need at least a 12" speaker. the mic to this size is not born yet. can you imagine how to reproduce naturally the live sound of a kick-drum?

For recording i - only - use the biggest TUBE condensor i can get.

AKG Solid Tube - well, well!
Neumann - all tube mic are outstanding

my secret tip:
http://www.shuaiy.com/ - the SYT 3000 is incredible, my favourite mic for a year now. powered by 6j1n. sometimes i use them stereo directly live from the amps. incredible price!!!

all of my favourite mic's (since i own the fantastic sounding mesa boogie amps) are pressure gradient receiver. means, there are always two big capsules in each mic. combined with the tubes it reproduces the sound sweet and neutral at all.

... and by the way, all this "how to find the right mic place questions" are gone. power the mixer, level the mic and listen to the fantastic mesa sound.

 

[fjk1138]

Tried many, SM57 seems to work best for me.