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best mic combo for E Guitar Cab .
Old 4th February 2009
  #1
Gear Head
 
cloiselle's Avatar
 
🎧 10 years
best mic combo for E Guitar Cab .

What would be the best combo for close and ambient micing of an electric guitar cab ? versatility is not an issue as this will be an all guitar tracking setup..


1. Sennheiser e906 dynamic microphone with a Sennheiser e614 Condenser

2. Shure sm57 dynamic microphone with a Shure ksm27 Condenser

3. Mxl (992/933 ) Dynamic / Condenser combo with a Mxl 960 tube Condenser

Feel free to mix and match to provide the best set up .

I'm partial to the sennheiser's myself after hearing the e906 just kill on a low watt tube combo recently ... although the sm57 can never be doubted , the mxl's are a little shaky in my opinion.
Old 4th February 2009
  #2
Lives for gear
 
GordZilla's Avatar
 
🎧 10 years
Quote:
Originally Posted by cloiselle ➑️
What would be the best combo for close and ambient micing of an electric guitar cab ? versatility is not an issue as this will be an all guitar tracking setup..


1. Sennheiser e906 dynamic microphone with a Sennheiser e614 Condenser

2. Shure sm57 dynamic microphone with a Shure ksm27 Condenser

3. Mxl (992/933 ) Dynamic / Condenser combo with a Mxl 960 tube Condenser

Feel free to mix and match to provide the best set up .

I'm partial to the sennheiser's myself after hearing the e906 just kill on a low watt tube combo recently ... although the sm57 can never be doubted , the mxl's are a little shaky in my opinion.
Are we talking just these mics listed.. or are you looking for some other suggestions?
Old 4th February 2009 | Show parent
  #3
Gear Head
 
cloiselle's Avatar
 
🎧 10 years
i would love to stay withing what i've listen for $ issues, although if something else kicks the doors down as in the same price range i'd love to learn about it !

i threw this ( As Real As Ghosts on MySpace Music - Free Streaming MP3s, Pictures & Music Videos ) together today with my camera's voice note recorder, i'd love to get something real going on

planning on the mbox pro / pro toos 8 le and the good old mogami gold's to connect it all, the only missing variable is the actual mic's themselves. a metronome is in the mix too for the future ! heh...
Old 4th February 2009 | Show parent
  #4
Lives for gear
 
GordZilla's Avatar
 
🎧 10 years
Quote:
Originally Posted by cloiselle ➑️
i would love to stay withing what i've listen for $ issues, although if something else kicks the doors down as in the same price range i'd love to learn about it !
How about an Audix i5 and a Cascade Fathead II then
Old 4th February 2009 | Show parent
  #5
Gear Head
 
🎧 10 years
I am currently fond of the Sennheiser e604 matched with the EV Raven.
Old 5th February 2009 | Show parent
  #6
Gear Nut
 
Dav Iridium's Avatar
 
🎧 10 years
The 906 goes well with a 57. Duplicate each track and pan them around, putting the "sizzlier" sounding tracks near the edge of your field. But for mine, you really can't beat a combination of a Sennheiser MD421 (close) and an AT4050 (about a foot away).
Old 5th February 2009 | Show parent
  #7
Lives for gear
 
rackdude's Avatar
 
🎧 10 years
I like CAD M179 with SM7. SM7 can do it alone most of the time, though the CAD blends in well.
Old 5th February 2009 | Show parent
  #8
Here for the gear
 
DeanS311's Avatar
 
🎧 10 years
2 x SM57 stacked next to each other.. one of them about an inch back from the diaphragm of the other... sexy. thumbsup
Old 5th February 2009 | Show parent
  #9
Gear Head
 
🎧 10 years
Lately I've been using an SM57, Beta57a, e609, and an Apex 210 Ribbon each on their own speaker (assuming you're micing a 4x12") and then mixing and matching to taste.



If I'm mic'ing a smaller cabinet, then a 57 with the Beta57a up close and the Apex 210 a foot or 2 away for a cleaner/slight overdriven tone. If I'm recording heavy distortion than the e609 will replace one of the Shure mics.
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Old 5th February 2009 | Show parent
  #10
Jai guru deva om
 
warhead's Avatar
 
🎧 15 years
I would consider:

E/V ND468 = close mic
SDC omni = room mic (Avenson for example)

Using an omni mic would enable you to start relatively close to the cabinet and continuously move it around until you found that perfect balance between direct source and reflected sound.

You may find the one room mic to be perfect and able to achieve the right balance by itself in many cases.

War
Old 5th February 2009 | Show parent
  #11
Lives for gear
 
rty5150's Avatar
 
🎧 10 years
Quote:
Originally Posted by GordZilla ➑️
How about an Audix i5 and a Cascade Fathead II then
i will be trying this combo out this weekend when my fatheads arrive. i will also be using an sm-57 and adk hamburg at the same time through my CL 7622's. i hope the tones will be good.

rich
Old 5th February 2009 | Show parent
  #12
Lives for gear
 
rty5150's Avatar
 
🎧 10 years
Quote:
Originally Posted by warhead ➑️
I would consider:

E/V ND468 = close mic
SDC omni = room mic (Avenson for example)

Using an omni mic would enable you to start relatively close to the cabinet and continuously move it around until you found that perfect balance between direct source and reflected sound.

You may find the one room mic to be perfect and able to achieve the right balance by itself in many cases.

War
hey, warren, ever tried the EV nd267b on a source outside of vox? i have one laying around with no use and was wondering what it might sound like. right now i am too lazy/busy(depending on the day) to try it in lieu of an i5 or 57.

rich
Old 8th February 2009 | Show parent
  #13
Jai guru deva om
 
warhead's Avatar
 
🎧 15 years
Nah, and I've enjoyed the 468 on guitar so long that I gravitate to it when I want a present el gtr sound from a dynamic mic.

Give it a shot, it might rock out...!

War
Old 9th February 2009 | Show parent
  #14
Lives for gear
 
3 Reviews written
🎧 10 years
RCA BK5A and Neumann TLM-103. you get the the heavy with the neumann, you get the presence with the rca. often I end up using only one or the other in the final mix (or at least an 80/20 split more or less) but sometimes the two are magical together. oh yea... and rca about 6 inches away from cone slightly angled away (don't want to blow the ribbon), and tlm almost in a room mic config since the 103 is amazing like that on cabs. sometimes close micing isn't what you want with a condensor... imho.


you can sub other condensors for the tlm-103, but something full and a spec sparkly is good since it is pretty different from the bk5a (focused, intense, very very accurate but very little proximity effect and none of that thick bass that cheap ribbons over-emphasize (not that I dislike thick bass, just not what I want on a guitar cab in most situations).

Don
Old 9th February 2009 | Show parent
  #15
Gear Head
 
Cpt.Vagabond's Avatar
 
🎧 10 years
Quote:
Originally Posted by GordZilla
How about an Audix i5 and a Cascade Fathead II then
I get some amazing tones with an sm57 in close and a Cascade Fathead II at 2-3 feet. I think it's the blend of the silkiness of the ribbon with the crunch of the dynamic that gives a nice depth, plus this particular combo costs less than $350.
Old 9th February 2009 | Show parent
  #16
Lives for gear
 
GordZilla's Avatar
 
🎧 10 years
Quote:
Originally Posted by Cpt.Vagabond ➑️
I get some amazing tones with an sm57 in close and a Cascade Fathead II at 2-3 feet. I think it's the blend of the silkiness of the ribbon with the crunch of the dynamic that gives a nice depth, plus this particular combo costs less than $350.
Nice!

57 is always always a classic for sure.. I've been just diggin' my i5 of late is all
Old 9th February 2009 | Show parent
  #17
Lives for gear
 
GordZilla's Avatar
 
🎧 10 years
Quote:
Originally Posted by dkelley ➑️
RCA BK5A and Neumann TLM-103. you get the the heavy with the neumann, you get the presence with the rca. often I end up using only one or the other in the final mix (or at least an 80/20 split more or less) but sometimes the two are magical together. oh yea... and rca about 6 inches away from cone slightly angled away (don't want to blow the ribbon), and tlm almost in a room mic config since the 103 is amazing like that on cabs. sometimes close micing isn't what you want with a condensor... imho.


you can sub other condensors for the tlm-103, but something full and a spec sparkly is good since it is pretty different from the bk5a (focused, intense, very very accurate but very little proximity effect and none of that thick bass that cheap ribbons over-emphasize (not that I dislike thick bass, just not what I want on a guitar cab in most situations).

Don
Right on amigo.. I must admit I have never tried my TLM103 on a guitar amp yet... gonna have to check this out

Have you ever close mic'ed an amp with the 103? Any worthy results?
Old 9th February 2009 | Show parent
  #18
Gear Addict
 
casey_outlaw's Avatar
 
🎧 10 years
Quote:
Originally Posted by Cpt.Vagabond ➑️
I get some amazing tones with an sm57 in close and a Cascade Fathead II at 2-3 feet. I think it's the blend of the silkiness of the ribbon with the crunch of the dynamic that gives a nice depth, plus this particular combo costs less than $350.
+1
Old 28th February 2016
  #19
Here for the gear
 
🎧 5 years
So I am pretty new to mic'ing cabs.

I have an SM57 (who doesn't), e609 and a NOS Panther.

I have been using my Logic Pro to visually match up my wave forms to make sure I'm not getting any phase issues.

I am interested to see that some of you are recommending to keep the ribbon mic 2'+ away. Won't that inherently cause a phasing issue when multi tracking?

Please forgive my naivity. I am also looking for a few other interesting mic's to add for tracking heavy overdriven guitars.

Looking at and MD421 but open to other suggestions.

I may be one of the only people I know that prefers a 609 to a 57...
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