Other ADA Gear > Speakers & Cabs
Beyma Liberty 8
Harley Hexxe:
Hey Richard,
Thanks for the feedback. That's food for thought in the studio setup :thumb-up:
The question I posted was directly about all my recording studio experiences in the past, where I relied on the studio engineer to capture my tone. Typically, they used SM-57's in the front of my cabs, and placed them off axis to the center of the speakers that they were micing. In one studio situation, an engineer used three different mics on an old Fender Princeton combo, but that was to specifically get the amp to sound much bigger than it actually was. For the most part, I did notice that my rig's overdrive settings, had more distortion on the playback than it does live. Maybe this is what the engineers thought I was trying to get in my settings? :dunno:
Harley 8)
rnolan:
Hey Harley, this is a bit strange (to me). When you mic up an amp (live or studio) my inclination (with my audio engineer hat on) is to just capture that as faithfully as I can (given whatever I have to work with). And yes I'd go for multiple mics if available (watch out for phasing) dynamic and condenser in various locations to achieve a good capture/sound but not add distortion/overdrive. Having 57s close to the cone (on or off axis) will give a little proximity bass boost, but the only thing I can think of that would boost distortion (overdrive) is overloading the mic (or desk input), otherwise it should just sound like what it picked up (cleanly and faithfully). Again though, there are many variables in the signal chain from go to woe, they all need to be considered.
Harley Hexxe:
Hey Richard,
Agreed! It is kind of strange to me too. I thought maybe the engineer wasn't really up to speed the first time it happened, so I went to a different studio to re-record the demos at the time, and got the same results. The rig I was using at the time was a simple, small rack with the Classic, S-1000, Digitizer 4, Digitech DSP-128, and a Microtube 100, through a Fender 2x12 cab loaded with Altec G-17's, (wired to individual jacks). We recorded it using the mics and the recording outputs of the Classic blended together.
The other trick with the Fender Princeton used a Cardiod mic in the center of the speaker in front of the amp, a Condenser mic in the rear of the speaker, and a Dynamic mic about 2 Meters away, and elevated to about the same height to get that sound. Yes, he did have to watch the phasing anomalies, but it was a cool sound in the final mix!
Harley 8)
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