Shed some light and tip each other pros! The question is how to get your guitars kick ass.
What mics?
How far from the cab?
Axis?
Etc..?
Go!
What mics?
How far from the cab?
Axis?
Etc..?
Go!
The art of micing
- Thread starter migreeni
- Start date
Loren Littlejohn
Lover of all boobage.
hmm.
Answer #1: Whatever does the trick
Answer #2: Whatever sounds the best
Answer #3: Whatever sounds the best
Answer #4: Whatever sounds the best
Answer #1: Whatever does the trick
Answer #2: Whatever sounds the best
Answer #3: Whatever sounds the best
Answer #4: Whatever sounds the best
everybody's x
My name is Damage
That being said, I'll try with something a little more constructive in the form of some commonly used choices
1: Shure SM57 / Audix i5
2: Around an inch from the grill cloth
3: The edge of the dust cap in the center
Still, Guitargodgt's answers override any of the above in terms of importance
1: Shure SM57 / Audix i5
2: Around an inch from the grill cloth
3: The edge of the dust cap in the center
Still, Guitargodgt's answers override any of the above in terms of importance
Loren Littlejohn
Lover of all boobage.
I could get more sarcastic if you like. Metaltastic did have some common ways of doing it though.
But just to be funny:
Answer #1: Radio shack dynamic, first shoved up your ass. One or two your choice
lol good for captureing the "brown sound"
Answer #2 Right in the corner of the room gotta get all those early reflections.
Answer #3: Like somewhere between 180 and 90 degrees.
Answer #4: I use a guitar with strings and a pickup and an amp with around 100 watts of power as well as a cabinet with 4 12" speakers.
Okay that was bad but yeah....
But just to be funny:
Answer #1: Radio shack dynamic, first shoved up your ass. One or two your choice
lol good for captureing the "brown sound"Answer #2 Right in the corner of the room gotta get all those early reflections.
Answer #3: Like somewhere between 180 and 90 degrees.
Answer #4: I use a guitar with strings and a pickup and an amp with around 100 watts of power as well as a cabinet with 4 12" speakers.
Okay that was bad but yeah....
Jeff hate bad sarcasm.
JEFF SMASH!
...
Sorry, the last meds didn't work, so I'm off completely until something new pops up. You couldn't tell, right? I'm sure you couldn't. In the meantime...
1: 57 or i5 is great to start with. 421s are also popular, especially mixed with a 57. I personally like to yank the transformer out of my 57s, to get rid of a lot of that nasal peak, add in lows and highs, and make the response seem less... well, badger-up-the-twat. I'm currently just using the i5 because it's so easy to get what I need out of it and I'm not sitting still for five minutes at a time these days.
2: Depends on the mic and what we're going for. With a 57 it might seem necessary to get into proximity-range zone, but I've never had that problem with an i5. I don't consider distance from the cab, as different cabs will have different speaker positions, but I'd try to get as close as possible without things getting too boomy and unclear. I use middy sounds and as a result don't need to worry as much about that sort of thing as some of the scooped-to-fuck-and-back lot, but with any tone proximity effect is something to be very well aware of.
3: Same as above - mic, intended sound, how much tinkering I'm in the mood for, et cetera. Right now, from the looks of it, my mic is fairly close to the joint between dustcap and cone and tilted slightly out. I can get away with different things than most, though, because I don't go for a very gainy sound - my gain is pretty much set to be a little light for Van Halen with a 'normal' picking attack, and I beat the fuck out of the strings to get things into the higher gears, never really getting anything with as much buzz or sizzle as the average metal band. I like having a lot of 'bounce' in my tone, so I can get closer to the dustcap and have a brighter sound going in, and as a result I can't say anything more than 'sit there for just about fucking forever until you find the right spot' - I could have sworn we just went over this a few threads down, look through the list and you'll find more detail and some real-world examples.
4: One very important factor in my sound is a two-foot-tall stuffed panda bear that sits next to my amplifier and guards it from the elves. They're sneaky buggers, they are. Also helpful is a tight performance, a well-set-up guitar, and above all knowing what the mix needs and not what will sound good on its own.
Jef
JEFF SMASH!
...
Sorry, the last meds didn't work, so I'm off completely until something new pops up. You couldn't tell, right? I'm sure you couldn't. In the meantime...
1: 57 or i5 is great to start with. 421s are also popular, especially mixed with a 57. I personally like to yank the transformer out of my 57s, to get rid of a lot of that nasal peak, add in lows and highs, and make the response seem less... well, badger-up-the-twat. I'm currently just using the i5 because it's so easy to get what I need out of it and I'm not sitting still for five minutes at a time these days.
2: Depends on the mic and what we're going for. With a 57 it might seem necessary to get into proximity-range zone, but I've never had that problem with an i5. I don't consider distance from the cab, as different cabs will have different speaker positions, but I'd try to get as close as possible without things getting too boomy and unclear. I use middy sounds and as a result don't need to worry as much about that sort of thing as some of the scooped-to-fuck-and-back lot, but with any tone proximity effect is something to be very well aware of.
3: Same as above - mic, intended sound, how much tinkering I'm in the mood for, et cetera. Right now, from the looks of it, my mic is fairly close to the joint between dustcap and cone and tilted slightly out. I can get away with different things than most, though, because I don't go for a very gainy sound - my gain is pretty much set to be a little light for Van Halen with a 'normal' picking attack, and I beat the fuck out of the strings to get things into the higher gears, never really getting anything with as much buzz or sizzle as the average metal band. I like having a lot of 'bounce' in my tone, so I can get closer to the dustcap and have a brighter sound going in, and as a result I can't say anything more than 'sit there for just about fucking forever until you find the right spot' - I could have sworn we just went over this a few threads down, look through the list and you'll find more detail and some real-world examples.
4: One very important factor in my sound is a two-foot-tall stuffed panda bear that sits next to my amplifier and guards it from the elves. They're sneaky buggers, they are. Also helpful is a tight performance, a well-set-up guitar, and above all knowing what the mix needs and not what will sound good on its own.
Jef
Daunt
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RKelly
Metal?
SM57 and a AT4047 was the combination I used for the Mutiny EP.
Depending on the guitar, a Fet 47 can sound reaaaaaaaaally good.
Royer's are usually my choice if I'm tracking solo's separately, a 421/SM57 combo works well too. Try everything! Beyer M160's are awesome mics for more of a Hendrix/Sabbath tone.
For a Korn-esque sound mic the dust cap of the amp....Serious
Depending on the guitar, a Fet 47 can sound reaaaaaaaaally good.
Royer's are usually my choice if I'm tracking solo's separately, a 421/SM57 combo works well too. Try everything! Beyer M160's are awesome mics for more of a Hendrix/Sabbath tone.
For a Korn-esque sound mic the dust cap of the amp....Serious
On a slightly different note; when you guys use different mics, do you always place them at the close-miking distance like the 57? Is there ever a time when you would use one, say, 3 feet back from the cab for heavy rhythm guitars?
Jarkko Mattheiszen
The FU guy.
Teh funneyz sarcizms faild lolz.
migreeni: Check out the Clayman sound thread (http://www.ultimatemetal.com/forum/production-tips-449/), it's got some good shit about the Fredman micing technique.
migreeni: Check out the Clayman sound thread (http://www.ultimatemetal.com/forum/production-tips-449/), it's got some good shit about the Fredman micing technique.
Not for heavy rhythm, that tends to give a more 'reverbed' sound and can turn to mush easily. Steve Smyth said that his lead sound was the 57 with an AT3035 a few feet back for ambience, though, so in that context it might make more sense.
Jeff
