Topic: micing a guitar amp.... on a budget.

[palmettobum]

So I am trying to mic a line6 guitar amp for a PA mix, doesnt have any outputs.   we have been using a direct box to get it into the mix.  Problem is the amp has built in effects and the signal were getting in the mix is straight clean guitar.  So I am assuming the best way to get it into the mix is with a microphone.  Does anyone have any advice on what kind of mic I need for this kind of thing?  I would appreciate recommendations on specific types.  Not trying to spend more than 100-150$.  Thanks for any help.

pb

[nickb]

Sennheiser e609 is an affordable mic.

I think it's around a $100.




If you wanted, a Shure SM57 would probably be more versatile (for other applications) and pretty much give you what you wanted, as well.

[Church-Audio]

Sennheiser e609 is an affordable mic.

I think it's around a $100.




If you wanted, a Shure SM57 would probably be more versatile (for other applications) and pretty much give you what you wanted, as well.

Unfortunately they dont sound like they once did.. I love the old 409 and 509 and a SM 57.

[palmettobum]

what kind of placement config do you recommend with that sm57? 

I think I have seen them like 'draped' over an amp before. 

[leehookem]

If you decide on the SM 57 I have one for sale.  Only been used a couple of times, smoke free.

http://taperssection.com/index.php/topic,100732.0.html

[Church-Audio]

what kind of placement config do you recommend with that sm57? 

I think I have seen them like 'draped' over an amp before. 

I do a bunch of things. I find that the closer you get to the middle the more top end you have. If its a 4x12 I mic one of the top speakers. I avoid micing an amp on the floor, I like to get the mic off the floor by atleast 1-2 feet because of reflections that change the tone when its close to the floor. I like to mic the edge of the speaker but again your ears are always the best tool. If I am micing a combo amp and I find the tone is very top end heavy try micing the speaker from behind.. I find that sometimes micing the combo amp inside from behind gives me a warmer tone.

But again there are no hard and fast rules. I generally move the mic around or have a stagehand or monitor guy move the mic for me so I can listen to changes out front. Because an inch here or there can make a world of difference many guys just stick it in front and leave it then they end up eqing the crap out of it to make it sound right..

Spend time with placement you will be rewarded with good sound. As far as distance is concerned it depends on the mic and the sound your going for. Live I try and stay no more then 2-3 inches MAX away from the grill. I never put the mic directly on the grill... why? because it vibrates

Just take your time, but if your source sounds like shit fix that first I always get the lead guitar levels and rhythm levels worked out because I dont want a guy boosting his own leads on stage * that's what I get paid for *

I always get guitar players to sit in front of there amp at a lower volume.. and listen to how it sounds then for a few seconds I get them to crank it up so they understand the difference between low volume "hey it sounds great" to high volume "man its ripping my head off at 2k"

The more time you spend on the source the better your mix will be. Sometimes you just have to literally put a mic in front of it and call it a day it sounds good already...  when I am dealing with "old pro" players who know what they want I "deal with it" with out asking for changes. Its always a fine line between messing with the guys vibe and making sure things sound good. In the end everyone needs to work together to make things sound good.

For the 57 you need to work that mic very close to the source and remember its very directional way more then a 58 Sometimes I find that a 58 sounds better Because its got a wider pattern.

My favorite mics for guitar are the Sennheiser 409, AT 4050, Shure SM7 SM 57, SM58. And Sennheiser 421, Royer Ribbon mic, AKG 414 and I also like the Akg 125 its an old dynamic mic. But I heard a Peavey mic sound good so I guess that tells you something about placement and the source.



Chris

[bluegrass_brad]

One way that I have gotten huge sound from an amp (particularly a smaller one) is to put a SM57 in front and one in the back then flip them out of phase. Like Chris said, it's all about experimenting with placement at the source so that you have to use as little EQ as possible. If you have the time, it's worth the effort, particularly if it is a band you are working with over and over.

[rokpunk]

audix i5 is $89 and sounds better than a 57 (to my tired old ears).

[Tye]

Grab these ADK A51s they make a great gutair mic
http://taperssection.com/index.php/topic,101745.0.html

[palmettobum]

Damn, thanks for all the replies.  +t to the thread.  are the ADK a51s decent for taping?  how do they compare with the sm57? 

i've owned two pairs of sd mics and have always wanted some LD's.  I actually needed another instrument mic, for a mandolin, thinking that pair of 51's might be where its at.
'

[palmettobum]

One way that I have gotten huge sound from an amp (particularly a smaller one) is to put a SM57 in front and one in the back then flip them out of phase.

sorry, what exactly is flippnig them out of phase'?


edit:

what is the difference between the a51s for sale, and the a51s TLs, and the a51s LEs.

i am still prenubescent

[goodcooker]

One way that I have gotten huge sound from an amp (particularly a smaller one) is to put a SM57 in front and one in the back then flip them out of phase.

sorry, what exactly is flippnig them out of phase'?

there is often a phase reverse switch on the board/preamp. Used for mics pointed in opposite directions - top and bottom of snare, front and back of guitar amp, etc.....

I have used all of the mics mentioned thus far and like the sm57/58 and the Audix i5/7 the best.

I usually start pointed directly at the center of the cone and move off center, changing the angle until I end up at the edge of the cone pointed along the angle of the cone. Depends on whether you want direct or "off axis" sound. I don't care for the sound of the mic hanging over the cabinet, 90 degrees off axis is too much for me.

I do like miking the back of the cabinet out of phase with the front, this can be especially good with players who switch from a warm clean sound to a screaming high end wail. You can fade in the back mic and fade out the front mic to warm up the tone and take out the screech.

[branas]

I second the Audix i5, I have used it side by side with the 57 and the i5 seems to come through a little cleaner, less like there is something between the source and the mic.

[cleantone]

agreeing with what has been said so far I want to add...

what line 6 amp is this? where are you getting the d/i from? seems like it would have an output or an output option hat would include the effects. that would be a free option. I would be really surprised if the amp only had an output that was without the effects.

[palmettobum]

its a smaller, older line 6 amp.  no outputs whatsoever, just a headphone jack.   di is just splitting the signal from the guitar.  I think I am going the sm57 route.  now I need a bigger board.  thanks for all the help and replies.