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ChuggNorris
Well-known member
Yeah, seemed simple. Like he simply didn't play and talked the whole time. Was hoping he would throw some riffs in there after the pre recorded opening. But, it's cool. All good.
Edit:
I bet that amp came with a footswitch too.
Edit:
I bet that amp came with a footswitch too.
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RaceU4her
Well-known member
funny i just mentioned in another thread how a 57 right on the center is the fool proof way to go 
ChuggNorris
Well-known member
funny i just mentioned in another thread how a 57 right on the center is the fool proof way to go
Apparently they say a few centimeter off center is the way.
I dunno... my one weakness is not spending time finding sweet spots. Plus I harte dialing an amp to sound good on the mic because usually when I do that it's too thin for the room sound....
And I pretty much live in the room sound these days so I've lost interest in mic'd tones.
Might get another suhr reactive load to handle that part of the deal. Plus I can't go long without a puppy bumping a mic stand anyway so I gave up
RaceU4her
Well-known member
I always get in BIG trouble with the ITR’ers here when I say whichever particular clip we are discussing may sound great in the room, but the big room filling low mids and darker non-fatiguing top end im hearing might need a little fat trimming and sweetener added to the top to work right in most mixes.. you'd think i kicked their dog right square in the asshole from a running start with the tender feelings that creates for reasons i cant explain.
im not so sure how much of a "secret" a 57 right on the cone is, i know a bunch of big name guys do it, but for me its just the easiest as i have my cabs in a closet and trying to move them a millimeter at a time is just too much of a pain in the ass by myself at least, and it usually just sounds the best in the tests ive done. i have been meaning to try the turn your amp up to hiss and use headphones to move the mic around till you find the loudest spot, im gonna put that in my list of things to do.
ChuggNorris
Well-known member
That's something I "need" to do also is actually fuck with mic positioning with studio headphones through a daw. I dunno why I find it so irritating to do. That and adjust my amp setting for the mic rather than the room. Seems like when I get free time, it's the last thing I want to do. And I just jam in the room and mess with tubes and speakers.
Every clip I post is literally a haphazard sm58 just sat in front of a speaker cab. And it's never a locked in deal. I don't calculate or test shit except clipping, if it clips I'll drop the input volume. And thats how I "remember" riff ideas. Press record and riff. And sometimes, I will throw a drum track down I've spent way more time tweaking recorded drum sounds than I ever thought about tweaking the amp to sound good micd and speaker placement... but ill just freestyle over a drum track sometimes and have some seriously badass riffs but the tone sound completely different on the recording than they did in the room. And I'm just too lazy to tweak that. I end up just riffing and jamming for 3 hours every single time.
It sounds soooo good in the room. Thick. Yet tight, chunky and dry. And it just does not translate worth a shit through the recording
I've meant to sit down and do the earphones thing, and get that perfect..... but dude I just don't have the patience for it currently. Maybe this winter if it is actually a winter I'll get around to doing all that so everyone can be "Uber impressed" with the recorded tone itself. I guess if I was trying to actually showcase an amps tone, especially straight in like I play.... I'm sure i would then commit to the recording tone part.
Til then..... I'm just riffing baby
cobrahead1030
Well-known member
That's my go-to method. Get some nice hiss, crank headphones, put the mic where it sounds loudest & clearest.
Speeddemon
Well-known member
For those of you still micing with 57s and 58s... try some Beyer mics instead; M201 and M88. Glorious tones. Especially the M88 preserves the 'in the room big-thickness'. And you can always EQ that out later, instead of trying to add some lows/low-mids.
A MD421 will also sound bigger/wider than a 57, but since it sounds relatively more scooped (in comparison to the mid-forward SM57), it's also a great combination.
I don't mic dead center on a cone; too strident for me. Just a few cm off the mid-axis (like Jeff said) and the mic slightly tilted, to capture some more lows.
A MD421 will also sound bigger/wider than a 57, but since it sounds relatively more scooped (in comparison to the mid-forward SM57), it's also a great combination.
I don't mic dead center on a cone; too strident for me. Just a few cm off the mid-axis (like Jeff said) and the mic slightly tilted, to capture some more lows.