I have a recording session tommorrow in my studio and need some advice and.general guidelines on amp placement within a room. I have a few different rooms.to chose.from, all drastically different surfaces and sizes, so it would be great to have some things to either strive for, or avoid. I have no.REAL issues with my current ways of going about it, however I know l, in theory, many.of.the things I'm doing; (amp placements, baffles/acoustic treatments, volume levels, amp tilt or elevation, ect). Are either 'wrong' or can be 'improved upon'. I have no issues with mic placement. My main concern is room acoustics and amp strategies. For rooms I have my control room (first pic), my vocal booth (located behind bookshelf and partial wall near back of the studio -this area is about 10 ft long and 2.5/3 ft wide.I.Would say. It's essentially a closet.) or my regular area I use.is outside my control room.(unfinished basement, concrete.floor,.dryers, furnace and water tank close.by). I have tons of blankets and foam to play with, and lots of milk crates to elevate cabs. Also have a few.paintings and.bulletin boards I can use as makeshift.gobos. I use mainly a sm57, but also have a shure sm58c medium diaphram condenser, and a Behringer c2 ldc. Thanks in advance for any advice.

Hmm. Posting on my mobile phone and it won't let me pat links to pictures... Will post pics tomorrow.. Any help in meantime is appreciated

Guitar cabs care very little about your room's sound.

Why do you think your mic placement techniques could be improved upon?
Name's Luca.

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Clue: amplifiers amplify so don't turn it on if you need quiet.
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That's not quite true - if you put your cab in the corner of a room and crank it you're gonna get considerably more low end, and a looser tone with large peaks when palm-muting low notes, regardless of mic position.

But yeah, if you're bothered about amp position (and plan on using a room mic/mic further away in combination with a close mic) you can always put the amp on something with wheels (mobile riser etc.) and move it around to different parts of the room and seeing how the sound swells/develops on stuff similar to what you'll record.

As Luca suggests though, don't expect the results at the mic to be as pronounced as what you hear from your listening position with your multi-directional ears, unless you're using omni/figure-8 pattern mics or miking further away from the source than more common cab miking practice.
Hey, look. Sigs are back.
I always close-mic the speaker and room choice becomes secondary. I usually put it in a room where it won't bleed all over the drums/vocals if recording live. Often a closet with a few pillows between amp and wall.
"Your sound is in your hands as much as anything. It's the way you pick, and the way you hold the guitar, more than it is the amp or the guitar you use." -- Stevie Ray Vaughan

"Anybody can play. The note is only 20 percent. The attitude of the motherfucker who plays it is 80 percent." -- Miles Davis

Guthrie on tone: https://www.youtube.com/watch?v=zmohdG9lLqY
Depends what you can afford in regards to spill and what you're looking for.

One producer I worked with liked to add short phasing, think of putting the cab in a corner with reflective walls, with gobos off. He put close mic, dynamic on the cone and a condenser facing the further wall for the reflections. I guess the result was Knopfler-like. We had the option to vary the phase at the board so it is a bit lengthy process.

As far as tracking rock usually closed mic, I prefer condenser and dynamic, sm57 and AT4040 is probably what I used the most, as much sound isolation around it as possible, I goboed or stuck it in iso booth, even covered the whole cab in a blanket in some cases. I put both very close to each other and to the grille so phase aligns.

Sometimes took condenser foot away (listen for phase) at same level for bigger sound during solos. In one case we built an acoustic reflective wall in shape V (we built wood panels that we could peel isolation from) and stuck several condensers down the way, one at the left about 2 feet from cab pointing at wooden surface, other further down another 2ft pointing towards the wooden board on the other side. It was a short delay wah effect kind of thing, in that case it worked.
Saturn Falling - track 5 - here's a track I produced with a modded fender excelsior in a basement much like what you described. there is a sennheiser

906 on front.. a 57 on the open back and a ksm 44 in omni mode about 6 feet away in an open cement cellar with dryer cement etc... there is no reverb plug ins on this track at all