I hope you don't feel put upon, Ruger! The problem isn't the title of the piece, it's really appropriately titled. The problem is that the expectations you had for it weren't met.
But...truth is...that's 100% precisely
how it's done! That is, in fact, "How to mic a guitar cab!" You couldn't title it anything else. In fact, there isn't much more that can be said about miking up a guitar cab, other than deciding which mic to try out on it. And of course, that's a completely different topic, and usually the best answer is, "Get the SM57!"
However...the really big time producers aren't engineers, though many of them started out as engineers. So they'll just say, "I'm not crazy about that guitar sound, could you try something else?" or "Great, let's lay down some tracks."
That's one producer part the video doesn't address. And there's another part:
The very best producers in the world aren't concerned with the tone or the audio nearly as much as they are with the
performance. They don't care what the engineer uses, or what gear is used, they're after capturing great performances, provided the sound quality meets their baseline. Of course, in most cases, the producer is selecting an engineer whose work he or she likes anyway, so there isn't much going on that hasn't already happened dozens of times in the past.
This is why big time productions employ a producer, whose function it is to manage the recording process, help the artist(s) make decisions, and often interface with the label; and the engineer, who is able to concentrate on the audio and executing the ideas of the producer and artist(s) re: achieving what they want to hear.
So...that's how THAT's done.
Small-time commercial studio dudes like me who function in the role of composer, producer, and artist can't really achieve the best possible results, but then, people only listen to our stuff for 30 seconds, and it's under dialog or a voice over 99% of the time. So we get off kind of light,