Tip for mic'ing high gain amps
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TwilightOdyssey
Darkness on the edge of Tone
Re: Tip for mic'ing high gain amps
Why not just put a towel over your amp? Same effect.
It sounds like something is very wrong if you have to put a sock over your mic!
Why not just put a towel over your amp? Same effect.
It sounds like something is very wrong if you have to put a sock over your mic!
TwilightOdyssey
Darkness on the edge of Tone
Re: Tip for mic'ing high gain amps
For a very high gain setting, the usual practice is to put the mic about 1' from the cabinet; this will give the sound more body and air ... or, if you're close mic'ing try moving the mic 2-4" off center from the middle of the speaker cone.
Hmmm ... still shouldn't present a problem. There are very few 'vocal' mics, and those are used for live performance ... unless you have a Shure SM58 (which will still work fine, if you work around the 2k presence peak), just every higher end mic (BLUE, Nuemann, AKG, AT) that's used for vocals is also used for electric guitar, too.mrid said:
For a very high gain setting, the usual practice is to put the mic about 1' from the cabinet; this will give the sound more body and air ... or, if you're close mic'ing try moving the mic 2-4" off center from the middle of the speaker cone.
S
seafoamer
Guest
Re: Tip for mic'ing high gain amps
Some people put a little tape on the speaker grill right where the middle of the speaker is. This is supposedly where the most high end comes from.
For some reason this post has given me the visual of a bunch of Marshall cabs miced with sm57's with condoms on them.
Some people put a little tape on the speaker grill right where the middle of the speaker is. This is supposedly where the most high end comes from.
For some reason this post has given me the visual of a bunch of Marshall cabs miced with sm57's with condoms on them.
Re: Tip for mic'ing high gain amps
One other thing is to play with the on axis and off axis tilt of the mike to source, and the proximity (closeness to the source). ((Germ knows this though)), Another thing is to use the effects of boundary conditions, or acoustic loading as it's known. Try pointing a combo amp into the corner of a room, and placing the mike about 3" in front (placement of mike to speaker cone centre I'll leave to your tastes), the half space loading to the rear of the mike generates a low boost combined with various phase cancellations , a cardioid mike (like the 57,58, and beta 58 works well for this)adjusting the distance between the corner and the amp will add a host of various tonally colours. The sock is really like a windscreen, a roll of toliet paper (full roll) slipped over the mike and adjusted creates some odd phase cancellations as well (good for really distorted rhythm power chord crunchiness). Also a second mike placed in the back of a combo amps and panned out hard left and right (the front mike being the other channel) , and then mixed during mixdown creates some intersting tone, because the tone in the back of the amp is different, and it's out of phase with what's going on at the front of the amp. A long plastic tube ~3' or more with a mike in one end can add some really twisted stopped flange type sounds as well. Have fun.
lastwinj said:
One other thing is to play with the on axis and off axis tilt of the mike to source, and the proximity (closeness to the source). ((Germ knows this though)), Another thing is to use the effects of boundary conditions, or acoustic loading as it's known. Try pointing a combo amp into the corner of a room, and placing the mike about 3" in front (placement of mike to speaker cone centre I'll leave to your tastes), the half space loading to the rear of the mike generates a low boost combined with various phase cancellations , a cardioid mike (like the 57,58, and beta 58 works well for this)adjusting the distance between the corner and the amp will add a host of various tonally colours. The sock is really like a windscreen, a roll of toliet paper (full roll) slipped over the mike and adjusted creates some odd phase cancellations as well (good for really distorted rhythm power chord crunchiness). Also a second mike placed in the back of a combo amps and panned out hard left and right (the front mike being the other channel) , and then mixed during mixdown creates some intersting tone, because the tone in the back of the amp is different, and it's out of phase with what's going on at the front of the amp. A long plastic tube ~3' or more with a mike in one end can add some really twisted stopped flange type sounds as well. Have fun.
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