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How to position these two mics - metal guitars tracking
Old 6th March 2014
  #1
Gear Maniac
 
skeeballcore's Avatar
 
๐ŸŽง 10 years
How to position these two mics - metal guitars tracking

Rig is a Mesa Dual Rec into a Mesa 2x12. Style is semi-modern metal ala Meshuggah, In Flames, KSE

Mics are Shure SM-57 and Cascade Fathead.

Can someone point me to a diagram or explain to me the best way to position these mics. I understand I'll need to swing it about to get what I'm looking for, but w/ the 57 at least can someone let me know if it's 'better' to
a) point the mic at an angle at the cone/diaphragm parallel with cone paper, or
b) straight on at the speaker

And I have no idea where to begin with placing the Fathead.

Any thoughts/suggestions?
Old 6th March 2014
  #2
RiF
Lives for gear
 
RiF's Avatar
 
๐ŸŽง 10 years
Here are some suggestions for the 57 (I have a Dual Rec and a Mesa 4x12, BTW):

I always start with the mic pointing straight to where the cap meets the cone (see drawing 1). This is where it mostly lands in the end anyway. If it's too dark, move it slightly towards the center of the cap, move it towards the outside otherwise. Backing it off from the grille an inch or two will open up the sound a bit, make it a little brighter and less beefy.

If you want both a little more bass AND high end, you can tilt the mic across the cap (see drawing 2). This means you start like before but tilt the mic horizontally so points towards the other side of the cap. It's called offaxis.

There's another trick that I never tried but it sounds worth doing: Put on headphones, turn down your guitar but leave the amp on and let it make hiss/noise. Move the mic around and listen to the hiss. The spot where the hiss sounds most fully spectrum (highs and lows and mids all there) is the best.

And you want to check both speakers. Mine all sound different.
Plus you should lift the 2x12 off from the floor and put it on a chair or table, because you might get low-end reflections that can muddy up the sound. Even better, decouple it from the floor with anything that does not carry vibrations from the cab to the floor.

In regards to the Fathead. I've never used one, but you should look up how people combine a Royer 121 with a dynamic mic and maybe this will get you some useful info.
I stay away from 2 mic micing, because 1) I am happy with the single SM57 and b) I fear to run into severe phasing problems.
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Old 7th March 2014
  #3
Here for the gear
 
๐ŸŽง 5 years
I know for the good In Flames albums, the producer used two 57s in the above positions, right on top of each other. That's a big part of the Whoracle/Colony/Clayman sound. For metal though, 1 mic is enough if you put it in either of the above positions, and due to the dense-by-nature sound of metal mixes if you add any more you will have a hell of a time getting things like anything else to fit your mix. Double tracking is key.
Old 7th March 2014
  #4
Gear Head
 
๐ŸŽง 5 years
I've heard of people putting ribbon mics like the Cascade Fathead dead center of the speaker (using a dark-ish mic on the brightest part of the speaker) and putting the 57 somewhere a few inches off to the side of the ribbon mic taking special care to make sure the capsules are the same distance from the grill so they stay phase-coherent with each other.

I just watched this stuff the other day and that's one of the mic position combinations they talk about in the series of videos starting with the video in this link:

Recording Electric Guitar Session 1 with Ross Hogarth and Tim Pierce - YouTube

...in fact, they talk about mic positioning right here:

http://www.youtube.com/watch?v=ksm9h...57Mjw-QgFHpRmw
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