Pictures of Mic'ed up GUITAR CABS

[Zombie H]

whats the purpose of a JCM900 if not to deafen people with it

:d

[pan60]

Originally Posted by joshatlasstands

you should probably just send me that amp and get something newer: )~


you know you don't need it!
besides it would look better here.

[joshatlasstands]

Haha, so you recognize the blue tolex eh? It's a '68 with a Emi C-rex and EH 7591 power tubes. I still have the original Sylvania old stock tubes wrapped up for safe keeping It's had a recap, new rect tube and 12ax7s installed as well. It sounds sooo nice especially when turned up, perfect break up point and all American. I also have two AC30s so I can really get whatever sound I want out of my guitar.

PM me if you want more info because it is up for grabs right now, all I lack is a power cap replacement and it's done as far as I am concerned.

[andychamp]

No picture, but tonight I got one of the hugest sounds ever. 12W amp with a 8" speaker, Gefell MV692 with M69 omni capsule pointed right at the speaker's center from 1 meter away, into UA4110 in limit mode.
Big.
Roomy.
Transparent.

[Mr. Spaceman]

This was a fun one - the client was PSYCHED. So were we! Funnily, this was for a pop band.

Two 414s, a 57, an sm7, There are also two AT3035s, both in the far upper corners of the room, pointed toward the corners.

It worked well for the parts with only 1 guitar part, but when they were layered, we ended up using only 1 or 2 mics.

These amps were a magical combination as well. Dynamics from the Sunn, sustain and muscle from the Marshall, and crunch from the Kay. Happy happy happy.

Psyhched to get a 121 and just use that.

[salomonander]

so everybody here uses at least four mics for a cab? wow....i have honestly never seen that extensive micing for an electric guitar. i tend to use one or two...

[901]

I guess, if you just put one SM57 in front of an ordinary Marshall cab, you wouldn´t post it here on GS...

[RTFMPleez]

Audix I5 and R84 on a Fender Deluxe. This was a great session.

[andychamp]

Admittedly not much to look at, but it sounded great.
Piezo-equipped stage 'cello > Vox Bulldog Distortion tube pedal > '71 Marshall SuperBass 100w > 4x12" cab.
The cab has two V30 and two G12-65. The latter were better adapted to the 'cello's tone (about a 3rd below standard guitar tuning).
Transformerless SM57 & MD 421 > 2x API512.
Rock!

[guittarzzan]

Originally Posted by mwagener

have you tried a ribbon mic (fig 8)? it picks up a lot of the room from the backside of the mic, but the close micing gives you an in-your-face kinda sound. The Royers can stand a lot of SPL but they don't enhance that nasty high end of a distorted amp, even when close to the speaker.

it's a couple of inches away from the speaker, right smack in the center of the cone.

Ok, I'm sitting here with my brand new Royer 101 that I bought specifically for my geetar cabs and the manual says 6-8" at the closest AND to angle it so the air blasts don't hit the ribbon head on.

...then I look at your picture...a picture from a guy who really knows his X#$% breaking all the rules with a 121. Are you recording at high spls with that set up or are you keeping it down a bit to protect the 121? Have you damaged any 121's with this set up?

I don't have much experience with ribbon mics so after reading the manual, putting my 101 that close scares the hell out of me. Problem is, I love that close up in your face heavy guitar tone.

Someone enlighten me please.

thanks,
Steve

[kikin]

Originally Posted by guittarzzan

Ok, I'm sitting here with my brand new Royer 101 that I bought specifically for my geetar cabs and the manual says 6-8" at the closest AND to angle it so the air blasts don't hit the ribbon head on.

...then I look at your picture...a picture from a guy who really knows his X#$% breaking all the rules with a 121. Are you recording at high spls with that set up or are you keeping it down a bit to protect the 121? Have you damaged any 121's with this set up?

I don't have much experience with ribbon mics so after reading the manual, putting my 101 that close scares the hell out of me. Problem is, I love that close up in your face heavy guitar tone.

Someone enlighten me please.

thanks,
Steve

6 or 8" from the cone is pretty close. Remember is from the cone not from the grill.

[heyman]

Originally Posted by guittarzzan

Ok, I'm sitting here with my brand new Royer 101 that I bought specifically for my geetar cabs and the manual says 6-8" at the closest AND to angle it so the air blasts don't hit the ribbon head on.

...then I look at your picture...a picture from a guy who really knows his X#$% breaking all the rules with a 121. Are you recording at high spls with that set up or are you keeping it down a bit to protect the 121? Have you damaged any 121's with this set up?

I don't have much experience with ribbon mics so after reading the manual, putting my 101 that close scares the hell out of me. Problem is, I love that close up in your face heavy guitar tone.

Someone enlighten me please.

thanks,
Steve

If you want to, flip the royer around and record from the back side. You won't have to worry about the ribbon at that point, though the tone will be diffrent.

[heyman]

oh yeah.. one more thing... What ever way you set it up, just make sure that you are not to close to a wall because you will pick up sound coming back at the mic. If you have a shitty room, place a absorber panel behind the mic to block any nasty reflections.

[PaulMac]

Lots of amazing guitars and some nice amps. Apologies for no close-ups of the mics on the cabs.

More pics of the whole session:
Felix Champion Recording | Facebook

[heyman]

Got a great semi dirty tone with an old SG with p90's running into a 32 amp, then Pacifica Preamp followed by an Anamod ats1.

Mics were a Tab Transformer 57 and a newer 421. Sorry for the shitty cell pic.

..

[FFTT]

Using my SM58 Beta worked out way better than expected.

The amp is tucked away in the corner of the living room here
and I'm amazed I was not getting any ambient room noise
from the fridge in the kitchen 15 feet away.

The directional properties of the 58 Beta actually helps here
in less than ideal studio conditions.



The view from the back of the cab shows the position of the AXA12 and the EVM12L

[gtrplyr1]

Originally Posted by heyman

If you want to, flip the royer around and record from the back side. You won't have to worry about the ribbon at that point, though the tone will be diffrent.

WHOA !!!!

Flipping the Royer around makes it much MORE prone to damage from loud guitars .... just wanted to clarify for the original poster. You can flip it around for more high end and people do but usually on quieter sources such as Acoustic Guitar and Strings .... but I don't recommend it for guitar amps.

FROM THE MANUAL :

"It is important to note that the SPL handling capability of the rear side of the R-121 is lower
than its front side."



Yes the Royer site tells you to keep the mic 6"-8" away from loud sources but several people put it right up against the speaker with no problems ... even with a LOUD guitar amp. It would be a good idea to tilt it down just to help avoid air blasts but you really shouldn't have a problem .... even the Royer site has plenty of pics of guitar cabinets mic'd up close. I think the 6"-8" away is more to minimize any proximity effect as the only problem with that mic is getting enough high end .. I've been using that and a 57 for years and find it's a pretty amazing combination ... I do keep the 121 about 6" away and point it dead center to get as much high end as possible ...

Great mic ... really makes getting great electric sounds a no brainer !

[heyman]

Originally Posted by gtrplyr1

WHOA !!!!

Flipping the Royer around makes it much MORE prone to damage from loud guitars .... just wanted to clarify for the original poster. You can flip it around for more high end and people do but usually on quieter sources such as Acoustic Guitar and Strings .... but I don't recommend it for guitar amps. Yes the Royer site tells you to keep the mic 6"-8" away from loud sources but several people put it right up against the speaker with no problems ... even with a LOUD guitar amp. It would be a good idea to tilt it down just to help avoid air blasts but you really shouldn't have a problem .... even the Royer site has plenty of pics of guitar cabinets mic'd up close. I think the 6"-8" away is more to minimize any proximity effect as the only problem with that mic is getting enough high end .. I've been using that and a 57 for years and find it's a pretty amazing combination ... I do keep the 121 about 6" away and point it dead center to get as much high end as possible ...

Great mic ... really makes getting great electric sounds a no brainer !

Understood, but I was told by Rich at Royer that turning the mic around and using the backside would not harm the ribbon like it does the front side.. Maybe someone can clarify this..

[gtrplyr1]

Originally Posted by heyman

Understood, but I was told by Rich at Royer that turning the mic around and using the backside would not harm the ribbon like it does the front side.. Maybe someone can clarify this..

Hmmm... I'm guessing something was lost in translation as the info I posted is from the manual itself. Unless they have changed the 121 recently .... Here is a more detailed quote from the manual ....

Cautionary Note:
It is important to note that the SPL handling capability of the rear side of the R-121 is lower than its front side. The R-121 is rated for 135dB SPL on its front side, but recordings on the rear side should not exceed 115dB SPL. When tracking loud sounds on the front side, the R-121’s
offset-ribbon design allows ample space for rearward excursions of the ribbon element.
However, tracking on the back side causes the ribbon to move forward towards the front side of the microphone, where the internal dampening screen is much closer to the ribbon element. Rear-side recordings of loud, low-frequency sounds, or vocalists with no pop ?lter, can drive the
ribbon into the front dampening screen, creating noise and possibly damaging the ribbon element. Limit back side recording on your R-121 to lower SPL sound sources.

[heyman]

Originally Posted by gtrplyr1

Hmmm... I'm guessing something was lost in translation as the info I posted is from the manual itself. Unless they have changed the 121 recently .... Here is a more detailed quote from the manual ....

Cautionary Note:
It is important to note that the SPL handling capability of the rear side of the R-121 is lower than its front side. The R-121 is rated for 135dB SPL on its front side, but recordings on the rear side should not exceed 115dB SPL. When tracking loud sounds on the front side, the R-121’s
offset-ribbon design allows ample space for rearward excursions of the ribbon element.
However, tracking on the back side causes the ribbon to move forward towards the front side of the microphone, where the internal dampening screen is much closer to the ribbon element. Rear-side recordings of loud, low-frequency sounds, or vocalists with no pop ?lter, can drive the
ribbon into the front dampening screen, creating noise and possibly damaging the ribbon element. Limit back side recording on your R-121 to lower SPL sound sources.

I think the confusion here is that I am using the 122's.. They can handle alot more than 121's... Thanks for the heads up and sorry for the confusion...

[gtrplyr1]

Originally Posted by heyman

I think the confusion here is that I am using the 122's.. They can handle alot more than 121's... Thanks for the heads up and sorry for the confusion...

No worries ... I bet the 122's sound great as well , never had a chance to use them. For the record the original poster was worried about his 101 ... it's pretty much the same as a 121 in that the ribbon is offset so the same rules apply .

[guavadude]

I'm using a drum mic claw for an SM57 attached to the boom with a Royer 121 on it. This lets me move the mics around but keeps them phase aligned as a pair.
This pic shows the claw on the stand, but I now have it on the boom so I can raise or lower the boom extension and they move together.

[guavadude]

The 121 and 57 are made for each other!

[FFTT]

Has anyone tried the Mercenary Tab Funkenwerk transformer
modded 57?

I keep looking at one as a semi affordable option.

[Blast9]

Originally Posted by guavadude

I'm using a drum mic claw for an SM57 attached to the boom with a Royer 121 on it. This lets me move the mics around but keeps them phase aligned as a pair.
This pic shows the claw on the stand, but I now have it on the boom so I can raise or lower the boom extension and they move together.

Cool idea!

[heyman]

Originally Posted by FFTT

Has anyone tried the Mercenary Tab Funkenwerk transformer
modded 57?

I keep looking at one as a semi affordable option.

Yes... and I love it...

Takes out some of the mid range honk that 57's exhibit.

[FFTT]

The new Mercenary Tab Funkenwerk SM57 was a smart buy!

Also diggin the new DR low profile stand.

12" guitar cable by Redco Audio with custom color coded shrink
wrap and Canare spring supported 1/4 TS jacks.

[Retinal]

[sonic dogg]

A 90's Blues Jr. at work. Also an Avatar cabinet with a JBL and a cool Genz Benz bass head for a jazz box. It REALLY sounds great!

[heyman]

Originally Posted by FFTT

The new Mercenary Tab Funkenwerk SM57 was a smart buy!

Also diggin the new DR low profile stand.

12" guitar cable by Redco Audio with custom color coded shrink
wrap and Canare spring supported 1/4 TS jacks.

Glad you like it..