#1
So I've decided that I want to experiment with the art of multi-miking an amp. All I've really played around with is my SM57, and while I've been able to get a pretty good sound out of it at times, my guitar tracks simply lack the "fullness" I'm looking for (even with the bass guitar there). I've seen several approaches to this technique though. It seems like some people like to use a dynamic and a LDC both against the speaker grille, and some people like to use a dynamic close to the grille, and use the LDC a few feet back from the amp. Should I basically just use my ears to decide where the sound I'm trying to capture is? (it's definitely a few feet back from the amp, that's for sure).

So, any tips on this approach? and avoiding phase issues? Anything is greatly appreciated
- Gibson Flying V 120 #1 (White)
- Gibson Flying V 120 #2 (Cherry)
- Gibson SG Standard ('61 style)
- Jackson DK2M

- ENGL Fireball 60
- Avatar 4x12

- Many pedals, plus other stuff
#2
You basically answered yourself in your own post lol, just use your ears and see what works best, I personally pi my mic at an angle at the side of my speaker cone and the other in the middle, works for me.

Btw, listening to the recording on your profile, are you using the peavey pv6 usb mixer? Cause I couldn't help but notice the noise in the background, I had the same problem with mine and it was a problem peavey had with their first production of that mixer and unfortunately a few got away like that, I'm getting it fixed though it's an easy fix
#5
Thanks for the input guys

Shreder666 - No, I use a Presonus Inspire interface. Those guitar tracks were pretty noisy, most likely due to the fact I was playing on my HSH strat, which has minor electronics issues I still need to fix, and I was right in front of the computer when I recorded it . My Jackson is far less noisy, but what I can I say, I really like the sound of my strat w/a Tone Zone in the bridge

CatharsisStudio - I've seen pictures of that approach done as well. Is the 2nd mic there a small condenser or another dynamic? Other than an SM57, I have either a Studio Projects B1 (LDC), or a Sterling Audio ST31 (SDC) to work with.

I guess I'm just going to have to try these various approaches to see what I like the sound of best. But real quick, I've heard about phase issues with multi-miking. How do I avoid that?
- Gibson Flying V 120 #1 (White)
- Gibson Flying V 120 #2 (Cherry)
- Gibson SG Standard ('61 style)
- Jackson DK2M

- ENGL Fireball 60
- Avatar 4x12

- Many pedals, plus other stuff
#6
Quote by CatharsisStudio


Rofl
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#7
Quote by BullonParade
position a SM57 next to the grille, wherever you want to position it, and a condenser (maybe an AKG414 or something similar) at least 1-2ft back away from the amp. gets a good natural sound from the area surrounding and a good precise pickup from the amp itself.

+1

Also try sticking a condenser behind the amp, no more than 1ft or so away - this can give you the extra fullness you're looking for.
#11
.. get the **** out lol


yeah go ahead and tell andy sneap that dynamics suck for guitars, sure the ****ing epic end of heartache tone doesn't mean **** sense it was done with 1 sm57


haha. condensors are ****ing horrible for heavy guitars, and ribbons with a dnaymic make great blends
#12
What the **** are you talking about?
SM57 has to be the most boring mic out for amps.
I've tried it multiple times and dynamics always sound thin and sterile.
Get a mic with character.
#13
Quote by rank-n-file
What the **** are you talking about?
SM57 has to be the most boring mic out for amps.
I've tried it multiple times and dynamics always sound thin and sterile.
Get a mic with character.

.......... lets ignore the fact that around 80% of all records have atleast one amp miced with a sm57. i myself havent tried micing with one, but ive heard some of cartharis' raw ,un eq'ed guitar tracks with an sm57 and it sounded freaking metal as hell. I think a condenser would be good for a room mic, but i believe sm57's are the best for guitar amps.
#16
Quote by rank-n-file
What the **** are you talking about?
SM57 has to be the most boring mic out for amps.
I've tried it multiple times and dynamics always sound thin and sterile.
Get a mic with character.


Tried and it didn't sound good? Because you don't know what you are doing you ****ing idiot. Do you realize how many albums you listen to use an SM57 on guitar? Let me answer that - a metric ****-ton. It's awfully funny you apparently know better than all other engineers that produce the most amazing guitar tones using an SM57. Shut the **** up and learn something you jackass.
#21
First of all, your guitar sounds like ****ing ass, muddy as ****. 2nd, ONE engineer? That's ALL you can come up with? Like 98% of his discography is a bunch of nobodies, let alone none of them that DID stand out have guitar sounds that made me give a ****.

Would you like for me to list the engineers that get guitar tones people care about and use SM57s to do so? I mean, it will take ****ing forever but I'll do it if you realllllly want me to.
#22
I don't care if every engineer ever uses one.
IMO they are boring mics. I offer my opinion on the subject and you dicks shut me down.
You're cut.
#23
Quote by rank-n-file
Get a mic with character.


Isn't the goal here to capture the character of the guitar, amp and musician? You want a mic with *no* character of its own.
#25
Double Tracking, first record the track, pan it hard left, then record a new one with the same playing, pan it hard right, Adds fullness.
#26
Quote by rank-n-file
Also i don't just hate 57s they sound real good on snares and rack toms.


One effin word here, ...PREFERENCE...

Somebody like it, somebody doesn't. What you got there is an opinion, not a fact, they way you said is like if it were a fact.
#27
Rofl
Steve Albini is a ****ing genius
but seriously

SM57's are the ****ing ****
if you can't get a good sounding guitar track with ONE sm57 you're doing it ****ing wrong.

Listen to any album produced by andy sneap and you will hear albums with incredible guitar tone with ONE sm57 in the right place on a good cab with a good amp running into it.


Basically man, if you can't get a good tone with an SM57, you have no right to even begin experimenting with other mics.
btw good to see you here mike ryan told me you were on here haha
#28
If you can't get great tone out of a single mic, you need to try harder. NOT just throw an extra (badly positioned) mic on the cab..
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#29
Dream pin beat me to it.
Epiphone Elitist SG (Serious)
Tokai Silver Star
Epiphone Dot
Epiphone Les Paul
Washburn J28SCEDL
Washburn J12S

G.A.S List

JCM600 (Yes a 600..)