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Discussion Starter · #1 ·
I'm going to try some micin' of my cab this weekend, and have been poking around reading up on people who have mixed results (some great, some terrible) mixing an SM57 off-center/bottom-left (the usual) on a 4x12, and running a condenser centered in front of it.

Any of you try this? If so, opinions?

I like the AFX a bunch, but I can't get a rhythm tone out of it direct that sounds as good as the Roadster does around 1/3 of the way up (basically louder than bedroom volume, but not deafening).

I have all sorts of mics, inputs and whatnot available, so I'd like to use what I have to the best degree possible. :wub:
 

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Dream Crusher
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Is that an i5?
 

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Sennheiser MD421 :wub:

I absolutely love that mic on any kind of cab. Anything it can't do, the SM57 does, and vice versa. Blend the two for maximum awesome.

Having a condensor back a bit definitely helps capture the more "natural" sound of the cab, a little closer to how you hear it, and it lets you hear the whole speaker, instead of just the point the dynamics are pointed at.
 

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Discussion Starter · #7 ·
That's what I'm looking for. I'm sort of happy with the AFX tones (they're certainly the best direct I've ever used), but it (and most likely, it's just me not being good enough with it) doesn't quite capture the full, beastly sound of an actual head through an actual cab.

So Matt, that's a Uni on both sides, and a cardoid in the middle? What the hell's the difference between a cardoid and a condenser? :lol: I have two 57s, two Small DCs and one Large DC right now.
 

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Dream Crusher
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Cardioid is the dispersion pattern and noise rejection of the mic, not the type of the mic.

 

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Discussion Starter · #9 ·
Hm. I see the MD421 listed as a "dynamic cardioid mic":

Sennheiser MD 421 II | Sweetwater.com

My Sterlings listed as "Small diaphragm FET condenser":

Amazon.com: Sterling Audio ST31 Small Diaphragm FET Condenser Mic: Musical Instruments

And the SM57 listed as a "unidirectional dynamic microphone":

Shure Americas | SM57 Instrument Microphone | Instrument Mic, Rugged, Touring

So they're 3 different kinds of mics? I've never actually given a shit before. :lol:

Or is "cardioid condenser" the proper name?

[action=Chris]googles[/action]
 

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Dream Crusher
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Again, "cardioid" or "hypercardoid" or "unidirectional" deals with how the mic picks up sound from various directions. They're simply a description of the mic's noise rejection from the side or back.

It is totally independent of the type of mic (condenser, ribbon, dynamic.)
 

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Discussion Starter · #11 ·
Again, "cardioid" or "hypercardoid" or "unidirectional" deals with how the mic picks up sound from various directions. They're simply a description of the mic's noise rejection from the side or back. It is totally independent of the type of mic (condenser, ribbon, dynamic)
Congrats. :yesway:
 

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Is Actually Recording
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IIRC, that's a ribbon in the center.

Using multiple mics on a cab is sort of a pandora's box - done right, it can sound awesome, but you have to get the phase alignment right which can be an absolute nightmare. I went with a SM57 dead-on for my rhythm tones simply because it sounded pretty damned good as is, but adding a second mic would definitely fill out the sound a bit - Crooks, not me, is the guy you're going to want to talk to if you go down that road. :lol:
 

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Discussion Starter · #13 ·
The beauty of two tracks is that if I two-mic it, and the condenser sounds like shit, as long as the 57 track sounds good I can just delete the other. :lol:
 

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The middle mic is a Royer 122. Multiple mics are great for EQing, without EQ. Meaning, if I need more mids, I turn up the 57, if I need more "scooped" I turn up the 421, if I need more awesome, I turn up the 122. The FG album had a high pass at 90 on the guitars and a dip at 200ish and that's it. The rest of the EQ was mic balance, and what was on "tape".

The easiest way to get the phase right is to keep all the mics level with each other relative to the cab. You'll hear it if they're out of phase, because you'll hear a "jet engine" sound as you play.
 

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:agreed: Especially in the digital age, there's no such thing as too many mics during tracking, since you can make your final decisions in the mix.
Disagree completely. Get it right in tracking or you'll pull your hair out for days when you go to mix (first hand experience here). Having options is nice, getting it right to start is better.
 

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Discussion Starter · #17 ·
Let's hold hands, Matt. :wub:

So would you recommend then that (with what I have) I go with a 57 on either side, and a SDC in the center?
 

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No. I'd recommend you use one SM57. Multiple mics is going to be a gigantic pain in your ass.

Put the 57 about an inch off the grill, pointed straight at the speaker, right at the point where the dust cap meets the cone.
 

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Discussion Starter · #20 ·
No. I'd recommend you use one SM57. Multiple mics is going to be a gigantic pain in your ass.

Put the 57 about an inch off the grill, pointed straight at the speaker, right at the point where the dust cap meets the cone.
:lol: BUT I HAVE MORE AND I WANT TO USE THEM.

I can't record at studio-deafening volume, if that matters. Loud, yes, but I live in a side by side condo. Atrace would not be a happy guy if I dimed the volume every time I wanted to record, he'd have no pictures left on his walls. :lol:
 
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