best microphone to....

Gio · 26th December 2005

...record a cranked Marshall JTM 45 with 1960 TV cab?

Suggestions??

Thanks!

Lanstar Zero · 26th December 2005

I would use a Royer 121/MD421 combo..
You could substitute an SM57 for the 421.

True North · 26th December 2005

Depends on what sound your going for. Recently I had a lot of success with a good condensor (U87'ish, or anything that can handle the SPL's) about 2 feet out (or less) from the Cabinet.

For close micing; I agree with trying the mic suggestions already mentioned - you might also want to try a Senn 609 or an Audix i5.

I know it has probably been said a million times over, mic positioning will have the single biggest impact on your sound. About 5 months ago I bought a pair of headphones that are meant to be used for on location recordings.

******//www.remoteaudio.com/hn7506.htm

Because these are high isolation head phones I can go to the amp and ask the guitar to play while I move the mic around. It allows me to directly change mic positioning and hear the sound at the same time.

It really applies to any intstrument where mic positioning makes difference and it made a huge difference in how quickly I could find the right positioning and the increased the quality of the sounds I was getting.

Knowing what I know now, if it was a choice between a new mic (assuming I had a decent one to begin with) and these headphones (or any other high isolation head phone) I would probably go with the phones.

I hope that helps, good luck!

A LaMere · 27th December 2005

One more vote for depends on what you're going for...
I use different mics, depending on where the track is going to fit into the mix...

Sometimes, just a single sm57 works... The Audix i-5 is a decent alternative...
Sometimes a two mic config... large D condenser and a dynamic..

Sometimes just a large diaghram condenser...
Sometimes a ribbon...

Sometimes,... two different dynamics. You get the idea....

I actually have bought maybe two or three cheap $20 dynamics to throw up in certain situations... they sound like hell... really, you wouldn't really ever mic anything up with them that you wanted to sound "big" or "bold" or "warm" or... good. But... they work on certain guitar tracks... and sometimes on certain drum stuff... that I want to sound a bit more broken and fit in better with the nice sounding beautiful tracks...

Experiment and see what you like.... that's half the fun of recording.

26th December 2005	#1
Gio Gear interested Joined: Apr 2004 Location: Switzerland Posts: 25 Thread Starter	best microphone to.... ...record a cranked Marshall JTM 45 with 1960 TV cab? Suggestions?? Thanks!

26th December 2005	#3
True North Lives for gear Joined: Sep 2005 Location: Richmond Hill, Ontario (Canada) Posts: 3,213	Depends on what sound your going for. Recently I had a lot of success with a good condensor (U87'ish, or anything that can handle the SPL's) about 2 feet out (or less) from the Cabinet. For close micing; I agree with trying the mic suggestions already mentioned - you might also want to try a Senn 609 or an Audix i5. I know it has probably been said a million times over, mic positioning will have the single biggest impact on your sound. About 5 months ago I bought a pair of headphones that are meant to be used for on location recordings. ******//www.remoteaudio.com/hn7506.htm Because these are high isolation head phones I can go to the amp and ask the guitar to play while I move the mic around. It allows me to directly change mic positioning and hear the sound at the same time. It really applies to any intstrument where mic positioning makes difference and it made a huge difference in how quickly I could find the right positioning and the increased the quality of the sounds I was getting. Knowing what I know now, if it was a choice between a new mic (assuming I had a decent one to begin with) and these headphones (or any other high isolation head phone) I would probably go with the phones. I hope that helps, good luck! __________________ "In the time of chimpanzees I was a monkey" - Beck, Loser "I do use compressors/limiters but not for controlling dynamics, I use EQ for that!" Jp22 (damn I miss him) "Education is a progressive discovery of our own ignorance." -- Will Durant, historian (1885-1981) "I try to get a boom out of the bass drum, in one of my albums, my CD, boom, I try to get that big boom, I could not get a big boom, I paid bucks, and could not get the boom" - Recording Expert, Tad Donley

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26th December 2005	#2
Lanstar Zero Gear nut Joined: Mar 2005 Location: Columbus, OH Posts: 123	I would use a Royer 121/MD421 combo.. You could substitute an SM57 for the 421.

27th December 2005	#4
A LaMere Lives for gear Joined: Dec 2005 Location: Portland, OR Posts: 1,146	One more vote for depends on what you're going for... I use different mics, depending on where the track is going to fit into the mix... Sometimes, just a single sm57 works... The Audix i-5 is a decent alternative... Sometimes a two mic config... large D condenser and a dynamic.. Sometimes just a large diaghram condenser... Sometimes a ribbon... Sometimes,... two different dynamics. You get the idea.... I actually have bought maybe two or three cheap $20 dynamics to throw up in certain situations... they sound like hell... really, you wouldn't really ever mic anything up with them that you wanted to sound "big" or "bold" or "warm" or... good. But... they work on certain guitar tracks... and sometimes on certain drum stuff... that I want to sound a bit more broken and fit in better with the nice sounding beautiful tracks... Experiment and see what you like.... that's half the fun of recording.