Proper Technique For Mic'ing an Amp

[Gary in NJ]

I want to make sure I'm properly mic'ing an amp by:

 

When using an SM57, placing it about 2 to 4 inches from the speaker cabinet, at the edge of the speaker, on a 45 degree angle towards the voice coil.

 

When using an SM58, placing it about 2 inches from the speaker cabinet, mid-way between the voice coil and the edge of the speaker, straight on.

 

Do I have this right?

[PlatinumProd]

This is just for Live sound and not recording, right?

 

What you suggest is a good start, but every amp, every room is a little different, and you should try a few different placements and check how it sounds. Have your helper hold the mic a couple inches from the speaker with the angle you suggest. Then, vary the distance and angle as you monitor the sound with your ear. Have him change slowly, so you can adjust the mixer gain to accomodate the distance change and pick what makes the sound you want.

 

Closer in will give you a more sizzly, but arguably harsher sound, further out will likely be warmer, but not as "in your face" with certain tones.

 

If you are recording in the studio or otherwise quiet room, I prefer a close-up with the 57 and an ambient placement with a condenser mic with a wider requency range.

[PlatinumProd]

My earlier, more in-depth comment on how I mic up in the studio (though I may try bringing the condenser mic back anywhere from a few inches to a few feet, depending on how things sound.)

 

. But, closer to the amp gets a bit more bassy as well ... proximity effect. Sitting the amp off the floor is a great idea , too. You might also try two mics; one close up and one farther back. I like using an SM57 and a C1000S, with the SM57 sitting about halfway of one speaker cone and SM57 pointed downward at a 45 deg angle towards the outside of the speaker. Put the C1000S about an inch or two behind the SM57, pointed between your two or four speakers to capture the full depth of your cabinet. The C1000S has a wider frequency range and will do a good job here. Pan each mic to the opposite side of their respective channels will usually avoid phase problems using two mics. Also, recording your amp at the highest volume possible while still achieving your desired "tone" is really a good idea . I turn my guitar volume control all the way to max, too. This gets the best out of your pickups. To be totally honest, I prefer recording direct or from a good effects unit. There are just too many variables with mic'ing a guitar amp unless it is the featured instrument for that recording. Hope that helps!

[amarule]

4" on the outside, as you may get bleed from other amps or instruments onstage any further.

 

Typcially I start with the mic aiming where the cone meets the surround, parallel to the speaker, not angled. Also, get the speakers up to a level where the players ears, not ankles are hearing it.

[PlatinumProd]

Watch putting the guitar amps on chairs. That's ok if the guitarist isn't a vocalist and doesn't have a mic directly in front of him/her. But, I personally don't like dealing with other instruments competing with my vocal mics. If the amp must come up, make him angle it away from the vocal mics, if they are in a fixed location.

 

As for mic orientation, angling the close mic tends to get more of the amp's full sound characteristics than pointing it straight in. But, to each his own.

[Gary in NJ]

Yes, we are talking about live sound. And I do understand that these are starting points, and not absolutes. I just wanted to make sure I wasn't starting from the wrong reference point.

 

This is part of an effort of our band trying to improve its acoustic tone. Our band is an acoustic rock band and we want to ensure that our instruments sound natural at loud (club/bar) settings. In the past we have always used the Line-Out from our amps to go direct into the board. In experimenting we have discovered that a more natural acoustic sound can be had with a mic'd amps.

 

Thanks for your input.

[PlatinumProd]

..This is part of an effort of our band trying to improve its acoustic tone. Our band is an acoustic rock band and we want to ensure that our instruments sound natural at loud (club/bar) settings. In the past we have always used the Line-Out from our amps to go direct into the board. In experimenting we have discovered that a more natural acoustic sound can be had with a mic'd amps. Thanks for your input.

 

Kudos to you for trying to get the best out of it you can! Yes, if you can control feedback situations and mic for optinal sound, it should sound better and more natural to do this (for most instruments). I still like to DI keyboards in almost any situation.

[Hizzo3]

...In the past we have always used the Line-Out from our amps to go direct into the board. In experimenting we have discovered that a more natural acoustic sound can be had with a mic'd amps. Thanks for your input.

Pardon my lack of knowledge as i am still learning... What are the pros/cons to mic'ed/wired amp to the mixer?

[TOOL_5150]

I have heard good things about the Heil pr-30 and pr-40. How would I go about micing a cab [rock music, 4x12, rear loaded] for recording? I want a full, cut through the mix recording. I dont own any mics yet, and I dont mind spending up to the cost of the pr-40. As I understand it, for recording I will need 2 mics, one up close and one 3-4 feet away, am I correct?

 

Thanks for any help guys,

 

~Matt

[Gary in NJ]

 

Pardon my lack of knowledge as i am still learning... What are the pros/cons to mic'ed/wired amp to the mixer?

 

 

I wouldn't classify it as pro's and con's, just differences.

 

In my limited experience (my band) farting around with my gig-rig the other night, I found that I could achieve a more natural, or balanced, tone with a mic'ed amp then I could with a DI or Line-Out from an amp. The DI/Line-out tone was harsh, whereas the mic'ed amp was warm or full.

 

Put another way, I didn't realize how much I relied on my amp to produce my tone. I assumed that the line-out would be a faithful reproduction of my acoustic guitar tone. But in reality the 2x8 woofers tweeter in the amp add more tone then I gave them credit.

 

If I bypass the speakers, I loose what I'm hearing at the amp.

[PlatinumProd]

I wouldn't classify it as pro's and con's, just differences. In my limited experience (my band) farting around with my gig-rig the other night, I found that I could achieve a more natural, or balanced, tone with a mic'ed amp then I could with a DI or Line-Out from an amp. The DI/Line-out tone was harsh, whereas the mic'ed amp was warm or full. Put another way, I didn't realize how much I relied on my amp to produce my tone. I assumed that the line-out would be a faithful reproduction of my acoustic guitar tone. But in reality the 2x8 woofers tweeter in the amp add more tone then I gave them credit. If I bypass the speakers, I loose what I'm hearing at the amp.

 

Wow! That amp really colors the sound.

 

Do you have an amp pre-out? Can you be sure it is the speaker and cabinet coloring it that much or the pre of the input. I can see how they might. I'm just curious; you never stop learning.

[Gary in NJ]

It's a Fender Acoustisonic amp. It has that "classic" Fender sound. I always attributed that sound to the electronics, but the speakers do color the tone.

 

Mind you, it's not a dramatic difference, but it is noticeable. The mic'ed speaker sounds more "live" then the line out. Maybe because it picks up the resonance of the enclosure and the floor. That's the only thing I can attribute it to.