Mike placement?

[Hog]

Wanting to get the best tone possible for metal. Using a Shure SM57 and an ENGL powerball. Where is the best place to put the Mike?

Thanks

Hog:up:

[MTA]

Wanting to get the best tone possible for metal. Using a Shure SM57 and an ENGL powerball. Where is the best place to put the Mike?

Thanks

Hog:up:

What cab will you be using?

Put the mic dead centre of the cone up to the cloth (or where it would be) then adjust the amp to get the sound by listening through the mic.

[HateEvent]

What's this for Hog? Or just generally for when we record?

Mark - It's a Marshall 1960A Cab.

[davewarden]

Whos Mike and wheres he going?

[MTA]

What's this for Hog? Or just generally for when we record?

Mark - It's a Marshall 1960A Cab.

If you have 2 57`s I could show you a little trick, Cant really explain but I can show

[Guest Gasss]

http://www.voxamps.co.uk/artist/artist.asp?articleId=34#

[Hog]

If you have 2 57`s I could show you a little trick, Cant really explain but I can show

That would be ace!

*better buy a soundcard which can take 2 mikes*

[threeornothing]

Save time...

[Jeid]

If you have 2 57`s I could show you a little trick, Cant really explain but I can show

Draw a diagram... I'm curious!

[Dan G]

Draw a diagram... I'm curious!

I have a feeling this will be along the lines of the Frederick nordstrom technique of putting one 57 dead centre, facing the cone - and then another 57, half an inch to the side but at 45 degrees to the other 57. Apologies for the appallingly crude drawing... this is what I mean if looking directly above the cab:

o

I \

the 'o' is the very centre of the speaker cone. The 'I' is one 57, and the '\' is another 57 (but the angle should be 45 degrees rather than about 30 as in the diagram)

Then mix the two signals in accordance to what you like. The one facing the cone directly should be brighter and the angled one should be smoother.

[Monk Rocker]

^^^That's what I thought:up:

[Hog]

o

I \

the 'o' is the very centre of the speaker cone. The 'I' are one 57, and the '\' are another 57 (but the angle should be 45 degrees rather than about 30 as in the diagram)

.

You should put that in Tate Modern Dan:up:

[MTA]

I have a feeling this will be along the lines of the Frederick nordstrom technique of putting one 57 dead centre, facing the cone - and then another 57, half an inch to the side but at 45 degrees to the other 57. Apologies for the appallingly crude drawing... this is what I mean if looking directly above the cab:

o

I \

the 'o' is the very centre of the speaker cone. The 'I' are one 57, and the '\' are another 57 (but the angle should be 45 degrees rather than about 30 as in the diagram)

Then mix the two signals in accordance to what you like. The one facing the cone directly should be brighter and the angled one should be smoother.

Very close, but there is a little more to make sure of first,

The 45 will be at the cloth the centre needs to be moved until it phases out the 45,

so 45 in phase centre out of phase,

move the centre out away from the cloth until you have a good cancellation (wont be total) switch it back into phase and see what you get,

then adjust to taste and leave to cool,

Let me know how you get on,

Keilan: Back of the class, Pods really are not good so thin and fizzy, if you have valve use it (they do have a place but not often IMOP)

[plumpwhiteduke]

In front of the speaker!!!

http://www.homerecordingconnection.com/news.php?action=view_story&id=8

[HairyScaryMark]

Place Mike out of the room so he doesn't make any noise when you record.

There are many options to where you place your mic's. When using only one SM57 I have found the best way to get a relatively smooth upper-mid boost is to place it about 2" from the cone at about an angle of 60 degrees. Also place it a few inches away from the speaker.

If you place the SM57, straight on it will sound punchy. I wouldn't recommend this unless you are using a combination of microphones so there are more options to your tone qualities, after you record.

If you have the option of doing this, record your dry signal as well as guitar amp signal. That way you can change your tone after you record, if you later decide you don't like it or even wish to change it moderately.

[IamScrooge]

Am I the only person who thinks that an on-axis mic placement is far too harsh and chainsaw like (remember the question is being used in the context of heavy metal) to be used by itself?

I like a good placement somewhere between the edge and centre of the cone, about 2" away from the grille, if your recording listen to see where gets you the best results. If you have a couple of goons, get one to play chords through the amp while the other moves the mic around in front of the cone, when you hear the tone you like best from your headphones in your isolated control booth yell stop. Add a distance mic if you so desire.

As for that total bastardo Mike, kick Mike up the arse (if you're into that sorta thing)

[David]

if you are doing the recording yourself, why not play around and see what you like? record a sample, move mic, record sample again, repeat, then have a listen and see what sounds best

I think generally next to the cloth slightly of centre is supposed to be good, and putting it at an angle can work out well, also try things like setting up the mic in odd places like your ear height (which will pickup more what you hear normally, than the sound directly from the speaker) and sometimes even things like behind the cab can work well, basically play around and see what suits you, your gear and the sound you want to get

David

[MTA]

Generally placing the Mic centre cone up to the cloth will give you the most neutral sound, moving the mic to the edge it starts to lose weight from the sound. But as in all sound engineering there are no rules. So if the sound is working for you that’s all that counts. Play about see what you get, just remember if you have more than one mic Phase will become more important.

[HairyScaryMark]

I, also try things like setting up the mic in odd places like your ear height (which will pickup more what you hear normally, than the sound directly from the speaker)

That is not necessarily the case as microphones don't work the same way as human ears. This is one reason why things rarely sound the same on recordings.

I do however agree with you about placing the mic slightly off centre, an angle of about 60degrees from the cabinet seems to be about right also, I find. somewhere between 2-6 cm away from the cab is probably your best bet.

Distance micing should mainly be tried when you have multiple microphones and usually not using dynamic mics.