Is dual mic'ing worth the hassle?

[greyskull]

putting the mics on the same cone seems to limit the phase issues for me.
Although if you start to get fruity with the ammount of mics this can becone tricky!!

My easy way of getting the mics in phase is to get the gain sorted on your main mic (lets say a 57)

Then flip the phase on the Second mic. and then with headphones on ; or someone listening in the control room, move the mic until its as thin and disgustingly shitty as you can possibly make it sound; then flip the phase on the mic - Voila mics are in phase

Repeat as necessary for multiple mics. I dont trust simply nudging the tracks, better to get it right at the source

 

[Keiffer]

I dont trust simply nudging the tracks, better to get it right at the source

what's to not trust?

 

[greyskull]

no logical reason really... I just find that its easier this way!

 

[if6was9]

you know that technique using the 3 plugins to fix the phase- can you not just do that yourself by recording them to separate mono tracks and then nudging them the same as you'd time align drums? then getting your ratio of 1 mic to the other like you would any 2 sources and rendering those as a sub mix and using that as your guitar track? there isn't any need for the use of plug-ins is there?

Also isn't there something where they'll never be perfectly in phase- if you move the audio by a sample aren't you affecting the phase of the different frequencies by different amounts due to the different in size/time periods of low vs high frequencies?

Also I got one of those Thomann brand T bone RB-100 ribbon mics. I think its great. Its a little dark sounding and its not very sensitive so on really quiet sources noise is an issue but I love it on vocals and guitars. As far as I know any ribbon will lack the high end of a condensor and really needs the pre-amps gain to be cranked to get a decent signal. I tried it as a room mic on drums too and it was really cool. I've used it on some traditional Irish instruments too and thought it suited perfectly. For the money I think its totally worth getting, it definately makes me think I'll get a high end ribbon some day- if the budget stuff is this good then the high end equivilant can only be amazing.

 

[Keiffer]

you know that technique using the 3 plugins to fix the phase- can you not just do that yourself by recording them to separate mono tracks and then nudging them the same as you'd time align drums? then getting your ratio of 1 mic to the other like you would any 2 sources and rendering those as a sub mix and using that as your guitar track? there isn't any need for the use of plug-ins is there?

sure, you can nudge them, but it's not as convenient as turning a dial on the fly. this is the very issue initially I was trying to make faster and more accurate. also, with SampleDelay you can push either one ahead or behind. my three plugin setup offers way more than just aligning. it also offers mixing the two.

Also isn't there something where they'll never be perfectly in phase- if you move the audio by a sample aren't you affecting the phase of the different frequencies by different amounts due to the different in size/time periods of low vs high frequencies?

getting them perfectly in phase is not the goal, it's being able to use phase as a tool to alter the tone. for me it's all about having the most flexible way to manage.

 

[if6was9]

Fair enough so, its just a different way of working I guess that works for you!

 

[Keiffer]

I'm just sharing info...

 

[Glenn Fricker]

I WANT A ROYER R-121 !!!!!!!!!!!!!!!!!!!!!

Save your money.

 

[Glenn Fricker]

I never use 2 of the same mic. And I never put 2 mics on 1 cone. I usually mic the top right speaker with a 57 near the dust cap, and then throw an e609 on the bottom left, dead-center.

which 609? The silver?


There's nothing inherently wrong with what you're suggesting, but if you're after 'heavy as fuck' tone, 2 57's on one speaker are a hard combo to beat. Clayman, anyone?

 

[Loren Littlejohn]

Another vote for 2 57s.

But anyhow the 122 is a pretty sweet mic. I asked the studio why they bought it instead of a 121 and it was because of impedance matching better (or something like that).

 

[Melodeath]

Save your money.

What do you suggest instead?

Another vote for 2 57s.

But anyhow the 122 is a pretty sweet mic. I asked the studio why they bought it instead of a 121 and it was because of impedance matching better (or something like that).

This is why I want the 122 over the 121. Plus the reverse side reverse proximity-effect. Of course, even the 121 is wayyyy out of my price range.

 

[Tommy Gun]

which 609? The silver?


There's nothing inherently wrong with what you're suggesting, but if you're after 'heavy as fuck' tone, 2 57's on one speaker are a hard combo to beat. Clayman, anyone?

Yeah, the silver. Sometimes we try the e906 too. I'll try and nail down the dual 57/one cone technique to see what I can get. Never tried it.

 

[Loren Littlejohn]

I hate the 609. In fact it doing me a favor as a paper weight (no joke) at the moment. I should sell that thing for something more useful.

 

[musickey]

I picked up one of the T-Bone rb100's awile back and its a kick ass mic, good on guitar cabs killer as a mono room mic on drums.

 

[Tommy Gun]

Has anyone tried the EV RE20 on a cab with decent results?

 

[Glenn Fricker]

Yeah, the silver.

Dude, the 609 silver just ain't cut out for recording the really heavy shit. I bought that bullshit hook, line & sinker from the Gearslutz board & it was pure hype. Maybe country or light rock, but for metal, stay away from it.

 

[Glenn Fricker]

What do you suggest instead?

SM57. It's all you're ever going to need. Don't believe the hype from gear-oriented forums or magazines. Believe the guys who get the heavy-as-fuck tones. .... you know, our illustrious host, Mr. Sneap, or Mr. Murphy, Mr. Nordstrom or Mr. Richardson. I think all my favorite recordings by those gentlemen were done with nothing more than one or two 57's & an amp dialed in perfectly.

If you're not getting a great tone with a 57, you need to work harder: Throwing money at the issue might not necessarily be the solution.

 

[Tommy Gun]

Dude, the 609 silver just ain't cut out for recording the really heavy shit. I bought that bullshit hook, line & sinker from the Gearslutz board & it was pure hype. Maybe country or light rock, but for metal, stay away from it.

Well, when mixed with a 57, it can be handy. Granted, I normally wind up with A LOT more 57 in the track than 609, but it has actually helped on some guitar tones we've gotten in the past.

 

[Glenn Fricker]

Well, when mixed with a 57, it can be handy. Granted, I normally wind up with A LOT more 57 in the track than 609, but it has actually helped on some guitar tones we've gotten in the past.

I know where you're coming from, I had 2 609 silvers myself. Take my word for it (I'm following your signature here) They suck for metal. ...even when mixed with a 57.

 

[Tommy Gun]

I know where you're coming from, I had 2 609 silvers myself. Take my word for it (I'm following your signature here) They suck for metal. ...even when mixed with a 57.

Well, I've been thinking of leaving the 609/906 out for a while. I might see what results I can get with the "Dual 57 on 1 Cone" technique, and maybe combine that with the RE20. I've seen picks of people micing 412's with the RE20, so I want to see what I can get out of it.