good mic to pair with a Shure SM57 for recording guitars?
If this does not give me what i want i still have the D.I.'d signal to fall back on for running through Pod Farm plugins.
I am after a Mic that i can pair with the SM57 so that one mic would capture the top end and the other more the bottom end as i read a Steve Albini article where he uses this technique, also i would like a mic that is multipurpose.
What about a RODE NT2A or SE Electronics SE2200?
Any suggestions much appreciated!
I've used an NT2-A for a second cabinet mic in conjunction with a 57 hard up against the grille and have had good results. I've not used an SE2200 for this type of work.
I often use a phase display to determine a suitable delay of the DI signal relative to the 57 and then another to get a workable value for a delay on the signals from the 57 and the DI relative to the room mic. This latter is not so easy to choose, and it often seems like a negative value is better, i.e. the room mic is further delayed relative to the cabinet, putting it into reverb territory.
Experiment, and go with what gives the results you are looking for.
Boswell, post: 372080 wrote: It's good to consider a second mic on a guitar cabinet, but if you are going to use a condenser mic positioned a few feet away from a cabinet, you really have to arrange the acoustic environment so that you don't get reflections off the floor, walls or ceiling muddying the captured sound. The other problem you have to tackle is that of phase (or combination of delay and phase), and that goes for any mic signal when blended with a direct output.
That's funny, I use a distant mic in order to pick up the reflections from the floor, walls and ceiling. If phase (which is a consequence of delay) is a problem I simply slip the track, but usually there's enough different about the distant mic, and/or it's low enough in the mix, that I don't feel the need.
bouldersound, post: 372204 wrote: That's funny, I use a distant mic in order to pick up the reflections from the floor, walls and ceiling. If phase (which is a consequence of delay) is a problem I simply slip the track, but usually there's enough different about the distant mic, and/or it's low enough in the mix, that I don't feel the need.You are right that I didn't make things clear. The distinction here is between having two mics on the cabinet and a single mic on the cabinet combined with a room mic.
Multiple cabinet miking has its own problems that I alluded to, but usually you use the second mic to capture the cabinet sound at a medium distance while reducing the effects of room reflections. The delay and (to a lesser extent) phase at the second mic need to be thought about.
Using a room mic is a separate technique that suits some music styles, playing techinques, cabinets and (importantly) rooms, but without due care can give results that are difficult to place in a mix. Phase is not usually important in this case, but delay may be, as you mentioned.
I still get a great sound with a single mic through a great pre. Thats been mentioned and is a great way to work. If your layering, you can simply change out the primary mic and make another pass. Easy.
Heil PR20! The PR20 and SM57 sound great apart and even better when blended. I would lose the DI blending though, that is poor technique in my opinion. Taking a DI of a guitar and then reamping later is one thing, taking a DI of the line out of an amp and processing it using speaker emulation is yet another thing, taking a DI of the line out on the amp and blending it in with the mic'd tone is something else entirely and sounds like it would just cause more harm than good.
Ripeart, post: 372278 wrote: I'm surprised I'm not reading anything here about ribbon mics with 57s. Care to tell me your experiences and why/why not?
Really it comes down to about personal taste. I've had the pleasure of hearing side by side mix comparisons of a bunch of mics dynamic, condenser, and ribbon on heavily distorted guitar parts. The end result was that the SM57 just sounded "right" and the only thing that came close to sounding in the ballpark of right is the Cascade Fathead II. All the rest sounded like they were better used on other instruments or for different styles of music. This included mics such as MD421, R121, e609 etc. I have heard the R121 on clean and lightly distorted electric guitars and it sounded much more fitting to the sound. If you ask Michael Wagener, he would tell a different story though. The popular phrase having to do with different strokes applies.