Looking for a higher end mic to record guitar cabs/amps.
Ive used sm57/58,ksm44.
Im looking at only using 1 mic {up-frt} to get the job done,the preamp Im using is a Sebatron 2000e.
Any "well known" mics in mind?
Comments
SM57 beta does the trick nicely for high gain mesa/peavy 5150 st
SM57 beta does the trick nicely for high gain mesa/peavy 5150 style amps i find, whereas the Sennheiser MD421 works best if you're gonna be micing marshalls. But it's all a matter of taste, i prefer the sennheiser on marshalls because they tend to be more high-end/mids and less 'body' and the 57 on the others because i find it adds a bit more of a cutting sound to very high gain tones.
I used a Kel HM-1 on my cab last friday (for a gig through, not
I used a Kel HM-1 on my cab last friday (for a gig through, not studio, but through a really good PA, so still gives a good idea). I never liked the high-mid boost of the 57, it always sounds "boxy" to my hear and finding the sweet spot is hard. I always end up cranking the amp loud on stage so people can enjoy the true tone and put it just a bit in the PA for more spread.
With the HM-1, I just stuck it right against the grille, didn't fiddle around with placement and it sounded just amazing. The soundman had a few spare 421s and a E409 with him and was really impressed with the sound of the HM-1. The amp wasn't that loud on stage and was turned towards the drummer, so we were just hearing the miced sound.
My particular HM-1's frequency response is kind of the opposite of the SM57, instead of the usual presence boost, there's actually less response from 1KHz to 3KHz and there a slight boost from 400Hz to 600Hz (they come with a chart). This is exactly what my Marshall needed: it has quite enough presence to not need an additionnal boost (G12T-75 speakers...) and the slight boost in the low-mid warms it up a bit.
This might not work for everyone, but it's surely a handy mic to have when working with a guitar cab. At the very least, it could make a usable room mic with a 57 up close.
Hardtailed wrote: I used a Kel HM-1 on my cab last friday (for a
Hardtailed wrote: I used a Kel HM-1 on my cab last friday (for a gig through, not studio, but through a really good PA, so still gives a good idea). I never liked the high-mid boost of the 57, it always sounds "boxy" to my hear and finding the sweet spot is hard. I always end up cranking the amp loud on stage so people can enjoy the true tone and put it just a bit in the PA for more spread.
With the HM-1, I just stuck it right against the grille, didn't fiddle around with placement and it sounded just amazing. The soundman had a few spare 421s and a E409 with him and was really impressed with the sound of the HM-1. The amp wasn't that loud on stage and was turned towards the drummer, so we were just hearing the miced sound.
My particular HM-1's frequency response is kind of the opposite of the SM57, instead of the usual presence boost, there's actually less response from 1KHz to 3KHz and there a slight boost from 400Hz to 600Hz (they come with a chart). This is exactly what my Marshall needed: it has quite enough presence to not need an additionnal boost (G12T-75 speakers...) and the slight boost in the low-mid warms it up a bit.
This might not work for everyone, but it's surely a handy mic to have when working with a guitar cab. At the very least, it could make a usable room mic with a 57 up close.
Thanks for the info------but I need info on (recording mics)
Mynameistrouble wrote: SM57 beta does the trick nicely for high
Mynameistrouble wrote: SM57 beta does the trick nicely for high gain mesa/peavy 5150 style amps i find, whereas the Sennheiser MD421 works best if you're gonna be micing marshalls. But it's all a matter of taste, i prefer the sennheiser on marshalls because they tend to be more high-end/mids and less 'body' and the 57 on the others because i find it adds a bit more of a cutting sound to very high gain tones.
How much $$$$$$ are we talking about for the MD421?
eddies880 wrote: [quote=Mynameistrouble]SM57 beta does the trick
eddies880 wrote: [quote=Mynameistrouble]SM57 beta does the trick nicely for high gain mesa/peavy 5150 style amps i find, whereas the Sennheiser MD421 works best if you're gonna be micing marshalls. But it's all a matter of taste, i prefer the sennheiser on marshalls because they tend to be more high-end/mids and less 'body' and the 57 on the others because i find it adds a bit more of a cutting sound to very high gain tones.
How much $$$$$$ are we talking about for the MD421?I got mine from musiciansadvocate.com a few months back for a mere $299 a piece, but i think that was sale price, and i did have to pay some hefty customs to get them over from the states. Check the site out anyways since it has some great deals http://www.musiciansadvocate.com/clearance_details.asp?inventoryID=SMD421MKII
eddies880 wrote: Thanks for the info------but I need info on (re
eddies880 wrote: Thanks for the info------but I need info on (recording mics)
I understand that .Technically the HM-1 IS a recording mic, I just decided to try it out on stage for fun. Since the PA system there was a nice balanced system that's not running on the limiter the whole time, and the board was this huge Yamaha PM3000 instead of the typical Mackie/Behringer, and that we were really hearing the miced sound and not the "acoustic" sound of the amp (using a wireless so I can hear from the FOH side) + being an outside gig where room acoustics are out of the equation, I thought it gave a reliable idea.
I rarely keep my Marshall at home, but when I do I'll record a few clips of it with the HM-1 and a SM57 for everyone to compare.
Hardtailed wrote: [quote=eddies880]Thanks for the info------but
Hardtailed wrote: [quote=eddies880]Thanks for the info------but I need info on (recording mics)
I understand that .Technically the HM-1 IS a recording mic, I just decided to try it out on stage for fun. Since the PA system there was a nice balanced system that's not running on the limiter the whole time, and the board was this huge Yamaha PM3000 instead of the typical Mackie/Behringer, and that we were really hearing the miced sound and not the "acoustic" sound of the amp (using a wireless so I can hear from the FOH side) + being an outside gig where room acoustics are out of the equation, I thought it gave a reliable idea.
I rarely keep my Marshall at home, but when I do I'll record a few clips of it with the HM-1 and a SM57 for everyone to compare.Thanks
I rarely use only one mic. Last time I tracked guitars, I blend
I rarely use only one mic. Last time I tracked guitars, I blended an SM57 with an AT4033. Really liked that. Of course, watch for phase issues with multiple mics.
Mic placement has a *lot* to do with your guitar sound. Moving the mic even a half-inch can change the sound when you're close micing a guitar cab. Try different speakers on the cab. Some might sound better than others.
Also, rock guitarists (especially metal guys) tend to use too much distortion and not enough midrange. Try to get them to back off the gain a little, especially if you're layering multiple tracks.
bobthing wrote: I rarely use only one mic. Last time I tracked
bobthing wrote: I rarely use only one mic. Last time I tracked guitars, I blended an SM57 with an AT4033. Really liked that. Of course, watch for phase issues with multiple mics.
Mic placement has a *lot* to do with your guitar sound. Moving the mic even a half-inch can change the sound when you're close micing a guitar cab. Try different speakers on the cab. Some might sound better than others.
Also, rock guitarists (especially metal guys) tend to use too much distortion and not enough midrange. Try to get them to back off the gain a little, especially if you're layering multiple tracks.
Is the AT4033 a condensor?
I will say one thing,you guys are talking about mics that Ive ne
I will say one thing,you guys are talking about mics that Ive never heard of.
I also have to mention that,Ive used "cheap" Cad condensor mics that sound like shit through my Mackie,but come alive through my Sebatron preamp.
From what Ive read so far-----there is a lot of of A.T. users out there that like what they hear.
The only mics Im using are:SM57,SM58,KSM 44,Joe Meek JM 27,Cad M37-------------so with that said,my mic locker is very small.
I mostly use an Electrovoice RE20, Sennheiser 421 or Shure Sm57
I mostly use an Electrovoice RE20, Sennheiser 421 or Shure Sm57 up close and sometimes an AKG Solidtube or a Nuemann U87 a few feet away for ambience. I've had nice results from all sorts though, I've used all my mics for recording electric guitar at one point or another, even the AKG D112 !!. At the end of the day electric guitar, especially heavily distorted isn't exactly a 'natural' sound in the same way an acoustic guitar is for example so whatever works.
i found an awesome sound using the beyerdynamic 160 and 130 thro
i found an awesome sound using the beyerdynamic 160 and 130 through a 512 pre.......the amp used was a fender deluxe........it sounded great!
the guitar tone was loud and with a little bit of distortion in a nice room. man that track just lit up! i definately like the beyer ribbons!
ivan.
I mainly stick to the SM57 or the MD421....but I have also used
I mainly stick to the SM57 or the MD421....but I have also used the AT 4050 and the Blue Dragonfly with great results. I think it really depends on the amp, the player, the room and the particular sound you are after. Experimentation is the key. I don't think you can go wrong with picking up a 421.
Zappa and guitar mics Frank Zappa promulgated the theory that t
Zappa and guitar mics
Frank Zappa promulgated the theory that the ideal mic for a speaker was one whose diaphram came closest to the diameter of the speaker. (according to legend)
One thing for sure, speakers are floppy compared to any mic you put on them. Their impairments are many and deep. Especially guitar speakers which fall off at 5k for the most part.
I'm not sure I buy frank's idea totally: two wrongs don't make a right - but.... the worst mic in the world is likely qualified to pick up the sound of a large floppy paper diaphram into which distortion is normaly thrust in large quantities.
I'd like to hear about some really really cheap mics that have made for great guitar sound. I but they are out there.
Maybe I should make a mic out of a guitar speaker and try that.
Open back cabs radiate +/- sound in both directions. This gives
Open back cabs radiate +/- sound in both directions. This gives them a character that is hard to capture with a single, cardioid or omni mic. I recommend a Figure-8 for this kind of application. My personal favs are the 414B-ULS, set appropriately, or a Royer 121. Much depends on the position, distance, tone, goal, etc.
For sealed cabs, a 57 often does the trick, though 414 can be dialed in with care, if you want a different kind of tone. If the room and isolation is good, try an AT4050 or KSM32 at 3 feet for a natural tone.
Give yourself time to experiment, and you will eventually get what you want, even if the mike isn't perfectly ideal.
anxious wrote: Open back cabs radiate +/- sound in both directio
anxious wrote: Open back cabs radiate +/- sound in both directions. This gives them a character that is hard to capture with a single, cardioid or omni mic. I recommend a Figure-8 for this kind of application. My personal favs are the 414B-ULS, set appropriately, or a Royer 121. Much depends on the position, distance, tone, goal, etc.
For sealed cabs, a 57 often does the trick, though 414 can be dialed in with care, if you want a different kind of tone. If the room and isolation is good, try an AT4050 or KSM32 at 3 feet for a natural tone.
Give yourself time to experiment, and you will eventually get what you want, even if the mike isn't perfectly ideal.
Funnie -u should mention the 57 for sealed cabs------------------I backed off the mic about 3-4 feet from the cab and got great tone from a 57.
As far as the AT4050-------------I just happened to find one at a pawn shop for $225.00-------------couldnt believe it!
Ive used a Shure KSM44 before with great results,from what ive read,the AT4050 and the KSM44 are neck and neck as far as specs.
First mic that comes to mind is the Sennheiser 421. It's by far
First mic that comes to mind is the Sennheiser 421. It's by far the smoothest mic I have ever used for recording guitar cabs. I've never been stuck with an unusable sound after tracking with a 421. Also try maybe a KEL hm-1, seems to be quite a buzz around here about that little mic. It's a small diaphragm condenser for about 100 bucks but I've heard people like Kurt Foster commend its ability to capture guitar cabs.