I'm just curious how many of you guys are still using a dual mic technique for guitar cabs? (i.e. dual SM57's on a single cone.) I find it gives more focussed mids, but it's a pain sometimes to get the mics in phase. Lately, I'm thinking about going back to a single SM57 or i5 for guitar......
Is dual mic'ing worth the hassle?
- Thread starter 53Crëw
- Start date
Sloan
Sounds like shit!
I'm usually limited on channels, but everytime I've used the dual mic setup, I like it. If you phase reverse one of the tracks, you can hear the high end noise stuff it kinda cancels out.
When I do it, I use an i5 and sm57.
When I do it, I use an i5 and sm57.
Keiffer
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53Crëw;7425313 said:
this can be a non-issue. I use these three free plugins to give me complete control over the mic mix. This setup gives several benefits including total control over phase, being able to mix mic ratios, stereo or mono track output and pan the track.
Use:
Track using two mics, no regard to distance from speaker (get the best tone), as a Stereo pair on a track and use the three plugins as Track Inserts in this order. You may need to do this a bit differently in your DAW, but the idea is the same.
SampleDelay -> Sonalksis Stereo -> Sonalksis Mono
SampleDelay - Total Control over Phase Alignment. This is the cats Meow. Having the ability to move one mic by 1 Sample can make a significant difference. It will also act as an EQ in ways you cannot achieve any other way. You can absolutely handle the top end buzz factor with this. If you're interested I can give some tricks with this guy for figuring initial sample alignment values.
Sonalksis Stereo - Used to Mix Left and Right Mic ratios. You can go from One Mic to the other and anything in between. You'll want to set the Pan Law to -6db for Equal Volume Panning. This is great when using different speaker types and/or mic types (e.g Ribbon and Dynamic).
Sonalksis - Make the Mic Mix Mono. Then you can Pan using your mixer.
If Mic Polarity Inversion for one mic is required, I do that at the Object level in Samplitude.
Keiffer
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LSD-Studio
HCAF crusher
http://www.thomann.de/fr/the_tbone_rb100.htm, my dad's produceer baught this one just for fun (he loves mics and buys everyone he can find), he said it sounds very close the royer, 10 being the royer it get's an 8.5 for him.
It's cheap, i'm getting one !
It's cheap, i'm getting one !
gorath23
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- Feb 6, 2008
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Dude, any elaboration you could give would be much appreciated, this sounds like a great way to overcome my phase headache!
Melodeath
Moonbow
How are those in comparison?
Do you like it better? I want the R-122, but boy that's expensive for me.
Keiffer
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I place mics individually each based on the best tone for that Speaker/Mic pair.
I don't view this a solving the phase as much as using phase as an EQ and it works wonderfully as an EQ.
As a starting point to calibrate and find the point of most phase alignment:
1) Track two mics as a stereo track (one left and one right)
2) Visually compare the waves to find the number of samples difference
3) Dial that into SampleDelay
4) I invert one of the signals (mics) and if my sample calc is correct, with the output set to mono, this will give the least level out. Note with one signal inverted, frequencies with the most output will have the least when use normally and vise versa.
5) Return the inverted signal back to normal.
With this complete you can now use SampleDelay as an EQ one Sample at a time.
With the Sonalksis Stereo plugin you can mix the mic, selecting 100% one mic all the way to the other 100%.
Keiffer
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If you're wanting a Royer, buy a Royer, but the Fat Head and Trion7000 are very good cab mics.
Melodeath
Moonbow
I only wanted a Royer because I've heard good things about the 121, and the 122 looks even cooler.
I haven't really heard anything about any other ribbons.
I haven't really heard anything about any other ribbons.
The 122 looks cooler, but it's what, $600 more? I think the R-121 would be just fine for me, thank you 
Melodeath
Moonbow
I didn't mean actual looks
I meant how it's active and has the "reverse proximity effect" on the back side.
I meant how it's active and has the "reverse proximity effect" on the back side.
Keiffer
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sure thing, but my advice is to seek out many peoples advice from various sources. while it may be cool to have a 121 in your mic locker, there are a lot of other ribbons that sound excellent for a fraction of the cost and with no sacrifice.
Melodeath
Moonbow
Keiffer
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I hope you all have found something of value...
I forgot to mention that you need to ensure both mics capture with the same polarity (i.e. for a given transient both are positive going for the same.) If one signal has an inverted polarity, you'll need to invert that signal before reaching the SampleDelay. I do this at the Object level in Samplitude.
Make sure you understand the track's signal chain.
I forgot to mention that you need to ensure both mics capture with the same polarity (i.e. for a given transient both are positive going for the same.) If one signal has an inverted polarity, you'll need to invert that signal before reaching the SampleDelay. I do this at the Object level in Samplitude.
Make sure you understand the track's signal chain.
