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Ribbon & Dynamic on guitar cab
Old 4th July 2012
Gear Addict
stgaudio's Avatar
Ribbon & Dynamic on guitar cab

Hi Folk's

How are you guys combining ribbons with other mics on guitar cab. I tend to use either a Heil PR30 or a Cascade Fathead for cab work but the fathead needs to be a foot or so from the cone and the Heil doesn't. Obviously the differential in placement puts things out of phase.

57's & most other dynamics sound rubbish away from the cone so I was wondering how you control your multi mic setups when recording guitars.

I guess a condenser may work well at the same distance as a ribbon.

Old 4th July 2012
Sennheisser e906 a smidge off flat on the grill and a Grampian GR1 ribbon about two foot and a half away... move to what sounds good - blend to taste. Both have a warmness, mid'ness about them, with the Gramp adding a touch of air. :thumbup:

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Old 4th July 2012
Lives for gear
frans's Avatar
The usual suspects as room acoustics, matching the size of the room to the volume in the room, not putting cabs parallel to the walls or even floor, getting them off the ground for less reflections, comb filtering, checking the reflections inside the cab (with damping the inside of the cab if needed) and generally putting the cab where the reflections combine well with the direct sound aside... there are time alignement plugins that help. Two sources can be time aligned in the DAW without too much pain, some phase alignement tools can be handy as well. If you got neither, plug/unplug the guitar, that makes a short and peak-y noise with which you can align them by looking at the waveform on the screen.. if the resolution of your waveform by chance is making it possible. Still, if your phase/time difference is just inbetween the measure of the sample frequency, you're SOL. It's like you can, with software, just nudge your data in solid increments, not inbetween them. Here's where neat stuff like the
Little Labs
comes in. As well as the old method of using ears to properly match phase on sources, which, with differing distance, isn't always 100% possible. I, for my part, have come to the conclusion that putting more than one mic on an identical source (which it really isn't, because no two spots in front of a cab are sounding identical) is not worth the trouble. I rather use one mic on one cab and split the guitar to another amp/setting/cab to get a more pronounced signal that provides what the other might be missing. But hey, it's not like my shtick works for everyone, for others it might be completely off, according to how they hear stuff. Take my words with a grain of salt, will you, please?
The other route would go down the "make the source less loud" so you could place the ribbon and the other mic without having the ribbon work on the edge of it's comfort zone.
Old 4th July 2012
Lives for gear


This is a demo I came across recently, I thought the guitar sounded great and went out and bought the combination - it does sound great! The 4050 is a much underrated mic, very clean, pure sound and the GA R1 MKIII (active ribbon) is brighter than you might imagine a ribbon to be but has the full, warm sound. Good, inexpensive combination. I'm using Daking pres here with them at the moment.


Testing - Golden Age Projects R1 MkIII and Bluerdige BG60 - YouTube
Old 4th July 2012
Gear Addict
stgaudio's Avatar
Thanks for your responses,

I know i can align the wave forms in post but I was just wondering if there's any magic formula to get each mic at it's optimum distance for sound and track in phase. Looks like little labs or waves inphase are in order.

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