CoreyT
PRS Addiction
Brian Wampler just uploaded a new video on mic placement.
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How Microphone Placement Affects Guitar Tone Dramatically
- Thread starter CoreyT
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D
Deleted member 2284
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Very good demonstration of the concept.
Also the amp's placement in the room has a big effect. And putting the amp on a chair to lessen reflections form the floor.
Also the amp's placement in the room has a big effect. And putting the amp on a chair to lessen reflections form the floor.
That's a good demonstration of how the tone changes!
I've written a lot about this in the amp section of the Forum, the best way to get the tone you want is to have an assistant move the mic while you play wearing headphones so you can concentrate on what the mic is telling you, or to have someone play while you wear headphones and move the mic around to get the sound you want.
This is how it's done in every major studio in the world. I always tell people, don't set it up the way you read some expert suggesting it, every amp and every guitar and every speaker cone sounds different. Get up off the chair and experiment with placement!
Here's my setup for a session last week using the DG30 amp and cab. The cabinet sits on an Isoacoustics stand that tilts the cabinet a bit, provides quite a bit of acoustical isolation, and sits the cab about 5" off the second part of my equation, the Auralex Great Gramma. This combination further decouples the rig from structure borne vibration in the room that makes physical noises. It also gets the cab 9" off the floor. The Isoacoustics thing also compensates for the cabinet moving back and forth in relation to the piston movement of the speaker cones.
To further absorb unwanted low end woof, and reflections off room walls, I use the three ASC Tube Traps as bass traps and set the front pair a bit forward of the grille so that side reflections are minimized.
This mic position is the result of quite a bit of experimenting, trial and error, and I only used it for the sound I dialed in for a solo. For the rhythm work I used a different placement, more toward the center of the grille.
I've written a lot about this in the amp section of the Forum, the best way to get the tone you want is to have an assistant move the mic while you play wearing headphones so you can concentrate on what the mic is telling you, or to have someone play while you wear headphones and move the mic around to get the sound you want.
This is how it's done in every major studio in the world. I always tell people, don't set it up the way you read some expert suggesting it, every amp and every guitar and every speaker cone sounds different. Get up off the chair and experiment with placement!
Here's my setup for a session last week using the DG30 amp and cab. The cabinet sits on an Isoacoustics stand that tilts the cabinet a bit, provides quite a bit of acoustical isolation, and sits the cab about 5" off the second part of my equation, the Auralex Great Gramma. This combination further decouples the rig from structure borne vibration in the room that makes physical noises. It also gets the cab 9" off the floor. The Isoacoustics thing also compensates for the cabinet moving back and forth in relation to the piston movement of the speaker cones.
To further absorb unwanted low end woof, and reflections off room walls, I use the three ASC Tube Traps as bass traps and set the front pair a bit forward of the grille so that side reflections are minimized.
This mic position is the result of quite a bit of experimenting, trial and error, and I only used it for the sound I dialed in for a solo. For the rhythm work I used a different placement, more toward the center of the grille.
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andy474x
Knows the Drill
I was playing and doing some recording this morning before work, and adjusting my mic position a bit. My mic is one of the hanging variety that you can just dangle from the cable, and as I was tinkering, I could actually hear the tone changing in my monitor headphones if the mic was swinging in a pendulum motion. Pretty cool. Finding that driven tones are the more challenging when it comes to mic position. I've been trying to dial out some of the harsh breakup that can occur right in the center of the speaker, but also not go so far to the edge of the cone that the sound gets muffled. Fortunately I'm finding this mic, a Sennheiser e906, much more forgiving than its little brother the e609, which I've used before. And what a coincidence, recording my Wampler Plexi Drive most of the time!
D
Deleted member 2284
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Cool. Have you played with the low pass filter on that mic? What is it set at?
You should get at stand for that baby. Then you'd more easily be able to angle the mic, that might be the ticket.
You should get at stand for that baby. Then you'd more easily be able to angle the mic, that might be the ticket.
andy474x
Knows the Drill
I haven't used the filter yet, but I'm looking forward to playing around with it! Just got the mic and a recording interface over the weekend and it's going a lot better than I expected. My previous experience with the 609 was an end result that had no high end. Ironically, I think the 609 actually is a very bright sounding mic, I just had to move it so far off center that there was no treble to be had. The 906 is a very different story so far, I have it almost in the center and it reacts very well. I just have it in the flat position on the filter switch for now.
gush
Where is that speedo pic
I use the 609 and am happy with it but was curious about the 906. I think the filters would be handy.
Speaking of Sennheisers, I really like the classic MD 421 on guitar cabs. It's got a great sound that's unique, and of course, is a very traditional way to record guitar amps. I find that the MD 421 MkII is just as good for recording cabs as the so-called vintage model. Sounds a tiny bit different, but still very nice on a cab.
The 421 is a highly underrated mic that has a nice wide spread that compliments the more focused sound of something like a 57; in that way it's not unlike what happens when you combine a 57 and a Royer 121 (though obviously the two mics sound different, what I'm talking about is how one mic compliments another).
It's not a cheap mic, but it's very useful in the studio. Also great on bass and toms.
And of course, I often use a Royer 121 or an Audix i5 in place of the 57 or 421 to vary the sounds I get. Picking the right mic or mics is a good thing!
The 421 is a highly underrated mic that has a nice wide spread that compliments the more focused sound of something like a 57; in that way it's not unlike what happens when you combine a 57 and a Royer 121 (though obviously the two mics sound different, what I'm talking about is how one mic compliments another).
It's not a cheap mic, but it's very useful in the studio. Also great on bass and toms.
And of course, I often use a Royer 121 or an Audix i5 in place of the 57 or 421 to vary the sounds I get. Picking the right mic or mics is a good thing!
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Rachmaninoff
New Member
That's one informative video!
Thanks for sharing.
Thanks for sharing.
gush
Where is that speedo pic
I have an I5 audix and have used it a couple of times. How much is the 421 and is it suitable for live performance situations?
gush
Where is that speedo pic
I also picked up a midnight blue series mic. I can't remember what model it is but it is a cheapo and doesn't sound too bad live. I have about 4 dozen mics in my arsenal so I always have what I need for live sound.
andy474x
Knows the Drill
I'll have to keep an eye out for a 421. I didn't want to get too crazy price wise right off the bat, but I do have a second input on my interface, and would like to get a complimentary mic to use on cabs.
A 57 and 421 kick ass for recording guitars! Great combo! I'd love to try the royer sometime. Always heard great things about it.
D
Deleted member 2284
Guest
The first mic ought to keep you busy for at least a year given all the footwork and learning involved - I would say wait till you get comfortable with what you have. That time is never spent badly. Also, two mics introduce interesting phase challenges
CVS
Not so new member
great insights!
redmax61
New Member
Great video! Thanks for sharing!
Like most of you other guys, I've done a lot of experimenting with mic placement as well. It really helps to convey your findings to other people if you have a cool video like this to show them.
And I'll throw in another nod for the 421 as guitar cabinet mics. They are fantastic! And if you can still find them, Vintage EV 676's are great up close mics as well.
Like most of you other guys, I've done a lot of experimenting with mic placement as well. It really helps to convey your findings to other people if you have a cool video like this to show them.
And I'll throw in another nod for the 421 as guitar cabinet mics. They are fantastic! And if you can still find them, Vintage EV 676's are great up close mics as well.
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