Gearslutz.com - View Single Post - Mic techniques for recording Heavy guitar tone

mpr3 · 7th December 2004

I like a Royer 121 up on the grill, centered on the cone, but at near 45 degrees angled downward (elevate the amp off the ground). With the angle I hear less stress on the ribbon at louder volumes and the tone sounds just as good as straight on it.

Then a SM57 (or 421 depending on tone) on a different speaker at the outer edge pointing 45 degrees towards the cone.

The Royer usually gets a Vipre and the SM57 gets the Phoenix DRS-2 followed by Little Labs IBPjr. Sometimes I will throw the E49 into the DRS-2 as a third mic (distant room). But I haven't been needing it lately as the direct sound of the Fuch's cabinet has been awesome.

I use the Little Labs PCP for all splitting and DI recording. It is a great piece of gear that I will probably never get rid of.

7th December 2004	#30
mpr3 Gear addict Join Date: Jun 2003 Location: San Clemente, CA Posts: 338	I like a Royer 121 up on the grill, centered on the cone, but at near 45 degrees angled downward (elevate the amp off the ground). With the angle I hear less stress on the ribbon at louder volumes and the tone sounds just as good as straight on it. Then a SM57 (or 421 depending on tone) on a different speaker at the outer edge pointing 45 degrees towards the cone. The Royer usually gets a Vipre and the SM57 gets the Phoenix DRS-2 followed by Little Labs IBPjr. Sometimes I will throw the E49 into the DRS-2 as a third mic (distant room). But I haven't been needing it lately as the direct sound of the Fuch's cabinet has been awesome. I use the Little Labs PCP for all splitting and DI recording. It is a great piece of gear that I will probably never get rid of.