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You guitarists out there, what mic do you like for micing/recording your amp?

I have been making hip hop samples for a producer in Germany. For my electric harp, I like processing the signal with a Line 6. First I run the signal through an LR Baggs ParaAcoustic DI to soften that "direct" sound as much as possible. Then I want to split the signal and record one direct, and possibly combine that with the one that records the amp. I might not want to use any direct signal at all, just amped.

I'd use my trusty old Gauge but I prefer to leave it in place to record the pedal harp. It took so much fiddling and experimenting, now that I have the 'sweet spot,' I just want to leave it all in position.

guitar amps tend to not have that much super deep bass, and definitely roll off the top end so a lot of people use a Shure SM57 or an EV e609 or similar dynamic for a basic guitar sound.

putting two mics on the amp (either both on the cone or one a few feet distant) is popular too.

the second mic is often an LDC like the Gauge or U87 or U47 or U67 style, and often times a Ribbon (Royer R121 is a popular choice)

and then you mix the two signals to get a nice composite sound.

I've always used either a 57 or a ribbon for electric guitar but for amplified harp? Don't know, might have to experiment, sounds fun!

Sounds like fun to me! Hip Hop Harp!
Are you using the amp to add grit to the Harp or to add effects???
Are you making experimental sounds???
If so... You can use any (and all) mics as long as you give your producer the direct track also
On my amp I use a SM57 on the cone and an MXL V69 (warm) condenser mic (3 feet away for catching the lows) recorded to two separate tracks
That way I can add some warmth back in with the condenser if needed.

I seldom mic an amp anymore, but when I do, it's usually a critical or soli part. I'm not a huge fan of close-miked amps (except in a more dense mix) and for this application in particular, I want some of the room sound, so these days it's an SM57 about a foot off the best speaker cone, on-axis (perpendicular to the grill) pointed midway between the dust cap and the speaker's edge and an XY pair of small diaphragm condensers elsewhere in the room. Or the next room or the next, depending on how big a sound I theenk I might need.

This may change, pending the outcome of some experiments with my new (used) U47fet-style LDC. If that doesn't bring out more 'grain' from the amp, I may shop for a ribbon mic.

I'd like to go against the grain and suggest something other than an SM57.... can't do it... that's the workhorse of the guitar amp recording.

Russell

cassmcentee wrote:Sounds like fun to me! Hip Hop Harp!
Are you using the amp to add grit to the Harp or to add effects???
Are you making experimental sounds???
If so... You can use any (and all) mics as long as you give your producer the direct track also
On my amp I use a SM57 on the cone and an MXL V69 (warm) condenser mic (3 feet away for catching the lows) recorded to two separate tracks
That way I can add some warmth back in with the condenser if needed.

I use the amp to record the harp with effects. It's just harp with effects, but one doesn't often hear that, so I guess it's experimental He then mangles up the sound even more so it's pretty interesting.

I only have 2 inputs currently, But good point, I should always give him the direct track too. I will have to make do with 2 inputs since I made a solemn oath not to buy any more gear until I have mastered what I have (har har!!)

THat's why I just bought an Electro-Voice bass amp mic. (har har) I got it for the pedal harp thinking it would be very warm, but it couldn't pick up enough signal. THEN I RETURNED IT TOTALLY FORGETTING about recording the amp.

SUPER DOH.

I wonder how that would have worked?

Hey, so nice to hear from my old Taxi pals!!

I'll have to get hold of a 57.. I just remembered I have an old Ball from band performing days; I could give that a shot too.

I am sooooo happy to have worked out the pedal harp recording method. With major help from Russell along the way! I do mid-side micing now with a Cad figure-8 and the Gauge, and it works great every time.

Electro-Voice RE20 is nice on kick drum and will fatten up just about anything, but because the diaphragm is large and heavy (and because it's a dynamic mic) it's output is kinda low (newer designs can have much lighter magnets, so they're more sensitive, as well as having higher output, but I digress; I meant to say that a Cloudlifter is a mighty fine thing to have when using dynamic or ribbon mics on quiet acoustic instruments, and yeah the EV is terrific on bass amps, 'announcer voice' and the low rotor on a Leslie cabinet as well as amps in general, even without a boost from the Cloudlifter.

I mostly use a SM58 as I like what the capsule does to the tone of my amp (Fender). I've also found that the Rode M3 is a cheap condenser mic that sounds great on gtr amps, so I use that in combination sometimes. It's all about what kind of tone you're after.