Your purchases also help protect forests, including trees traditionally used to make instruments. Amp placement has a lot to do with your overall tone, too. Make sure they’re working by bringing them up in the control room monitors panned to the centre (mono). It’s exactly what it sounds like—you just record the same part again for added thickness. I’ve always found that this particular miking technique is instantly effective. AudioTechnology: Can you describe in plain English why the two mics are placed at 90 degrees to one another? The best idea is to start with the mic pointed directly and then slowly shift its position to fine-tune and smoothen out the high-end. Unlike most single or multiple mic setups I see people constructing in the studio, you’ll notice that the two mics are placed on the imaginary line that marks the centre of the speaker cone. So the effect you’re getting is like a dovetailing of the two microphone tones. If you want to level up a notch and have more than one speaker and one microphone, you can mic up each speaker and record them to separate tracks. It’s amazing how many guitar players don’t realise that some of their speakers are not sounding as good as the others. Get as close as you need to. Actually, in that particular situation I didn’t use this technique then, I just used a good old Fet 47. First, place your preferred mic in the center of the driver about three inches back. The waveform is far better represented as well. Find everything you need to make music. At the time I was using a Sennheiser 421 and an AKG C414, but in the end I found the Shure SM57 worked better in this setup. The only difference is that if our demonstration amp contained more than one speaker, we’d first choose the best speaker in that box. There’s your guitar sound. We’re only using a small, single-speaker amp for the purposes of this demonstration here (because that’s all we could find kicking around 301! Try moving the mic toward the center of the driver for a more aggressive tone or toward the edge of the driver for a more mellow tone. With this setup the sound you get out of the amp is exactly the same as the one you’ll get in the control room. What follows cuts straight to the heart of good guitar amp recording technique, and is based on a day-long discussion with Mark at Studios 301 in Sydney, which was kind enough to allow us the use of the recording space for the day. What’s coming out of the centre of the cone and the edges of the cone has to reach the diaphragm of each mic at the same time. Your email address will not be published. Here are some common choices: Remember, you can place the mic on-axis for more clarity and detail or off-axis for more airy, room tone. The AKG also has a 10dB pad on the microphone, so I’ll always pad it down – and always at the mic, never at the desk. That’s how you get perfect phase. It’s very simple. Local music shops & gear makers are open online and ready to ship your dream gear. After I hit on this technique quite by accident years ago, my days of placing mics all over the amp and the room in the blind hope of capturing a magical guitar amp sound were over. It’s very common to see two mics less than 1/2" away from each other or even the amp itself. A common production trick when recording guitars is to “double track" them. I do this so we’re capturing the top end from the centre of the speaker, but without facing the mic directly at it. But if you’re not panning the signals to any great degree, it didn’t make a lot of difference. Mark Opitz: It’s because basically you want the signal hitting the diaphragm of each microphone at exactly the same time, i.e., phase coherently. JLM Audio Mono mic pre kit: Build Tutorial. AudioTechnology: Wouldn’t it perhaps be easier just to move the 57 and the 414 back a bit than have that third mic messing up the phase relationship? It doesn’t matter what mic you use, just experiment with what you have, and use what sounds best. Mark Opitz: Well, that’s what I used to do – but not so much these days because you’ve got lots and lots of tracks in the digital domain usually – but if you’re going to analogue tape I’d nearly always send the two mics to one track instead of keeping them separate. You can’t drop them back as far as the placement of the U47. Pro tip: Before you start placing mics, you should set up a Direct Box to capture the raw signal of the guitar, just like you would when recording bass.You probably won’t use this signal in the mix, but it gives you the opportunity to try out some different tones with amp simulators or even to re-amp the signal with a different setup later, which is a nice safety net to have. The small inconsistencies in the two recordings help make it feel human and musical, while adding extra depth to the guitar tracks. Its sound has been reinvented so many times over the years by so many different musicians that there really isn't a blueprint for what a guitar is supposed to sound like. The only reason to add this mic is if you’re trying to get extra room ambience into the sound. And that can be determined, once you’re experienced with the technique, before a note’s played by examining the hiss that’s coming out of them. It’s not uncommon to see guitar mics literally touching the grill of an amp. Sometimes, engineers find they can’t get their desired sound with a single microphone. At this point, you should have a pretty well-balanced guitar tone, but there’s one more trick to getting big, powerful guitars… doing it again.