|How To Mic An Electric Guitar Amplifier
the quality of your electric guitar recordings in 5 minutes. Electric
guitar recording does not have to be difficult. With a few simple
concepts you should be on your way to recording great guitar sounds.
With modern music (especially pop/rock music) production demands
are greater than ever. The average listener expects the recording
quality of your music to be the equivalent of those amazing productions
you often hear on the radio. Since this discussion could take weeks
and weeks and page after page, I've decided to narrow the focus
of this guide to recording the electric guitar.
With any recording, getting the source right is 99% of the ballgame.
This means that a great singer with great tone will sound good through
pretty much any microphone. This means that a great sounding violinist
with a great sounding violin in a great sounding room will sound
this way through any functional microphone. Granted, some microphones
will impart their character onto the source (for better or worse),
but with any operating microphone a great musician will still sound
So with the guitar (and anything else you intend to record), it's
important to get the instrument doing exactly what you want before
you even bother putting a mic in front of it. You should walk around
the room the amp is setup in to hear exactly what is going on. You
might find sweet spots in the room. You may try actually moving
the amp in a few different places in the room.
Guitar Recording Room
In my first recording room (which happened to be very small and
very unideal for recordings), I noticed that moving an amp just
a few inches had a dramatic effect on the low end coming out of
the amplifier. I later learned that this was quite normal for small
rooms with no acoustic treatment. (Just a side note, if you are
planning on doing treatments for your room, skip the foam stuff.
It probably won't help. In many instances, it will make the problem
worse. Try a search for "bass trap" or visiting www.recordingreview.com).
So exeriment greatly with the amp before you get serious about microphones.
In fact, I recommend that you mess with the tone quite a bit just
to see. You could always settle for the tone already on the amp,
or you could push the highs up too high to see where they end up.
You could pull the highs down too far to see where the tone ends
up. Eventually, you'll find a middle ground that keeps your perspective
out of the way.
The type of guitar you use makes a big difference on how the amp
will sound. This is no secret. However, many people get in a rush
when recording and think that adding some sort of effect or plugin
on the computer will get them what they are looking for. If you
find that you are not happy with a given guitar, maybe you should
try plugging in a different guitar just to see. Try doing something
off the wall or downright wrong. You'd be amazed at what kind of
recordings you could get with a Telecaster through a Mesa Boogie
Rectifier. I've heard success stories of acoustic guitars running
through cranked Rectifiers.
When you have a tone that you are pretty confident about, it's time
to pull out the mics. There are a few methods to trying out mics.
You could slap every mic you own on the amp to see it it's happening
for you. The problem with this approach is mic placement. Did you
take the time with each mic to make sure you found the best sounding
spot on the amp? You could do this with each mic, but the spot that
just sings for each microphone will probably be in a different spot
for each mic. I tihnk your time could be spent better.
Guitar Recording - Microphone ideas
If you are just starting out and have no idea what mic would be
best for a given job, start with an SM 57. They are cheap and everyone
has one. If you don't have at least one, get one used off of Ebay
or something. In the meantime, grab whatever dynamic you have and
give it a try. There are a number of SM 57 clones that are essentially
the same microphone. Even if they are not the same mic, try them.
You never know.
One trick to help choose the best spot to place the mic I read in
a forum years ago. It said to unplug the instrument cable from the
guitar amp, crank the amp up to very high levels, and put the SM
57 (or whatever mic you are using) in front of the speaker. Next,
run the mic through some loud heaphones with good isolation. Then,
with the headphones on, start moving the mic in front of the speaker.
You will be amazed at what you are hearing. You will hear all sorts
of changes in the tone simply from moving the mic around. The users
of the forum recommended putting the mic on the brightest spot.
I have not had much luck with putting a mic exactly at the brigthest
spot because it can get a little bit too fizzy at times, but feel
free to try it and see what works. The brightest spot may be perfect
with a darker sounding amp.
My favorite trick when recording guitar amps is to use two different
microphones on one speaker. You have to be aware of phase cancellation.
(If you are not familiar with phase cancellation, check out my website,
www.recordingreview.com.) However, when you get the mics in phase,
you will have much more control off your recordings. I find that
what I'm looking for when mixing is much different when I'm tracking.
Sometimes I wish I could go back and change something on a tone.
One rememedy for this is recording the two mics from one speaker
to two seperate tracks that will allow you to blend them differently
to create different tones on the recording.
I start out by placing one SM 57 on the cone. This means I put the
mic in the dead center of the speaker. This sound is almost always
fizzy and thin. With very few exceptions, I've found it to be a
crappy guitar sound. As crazy as it may sound, that's exactly what
we want. We want a track in the mix that is bright, thin crap that
we can use as much or as little as we feel the mood for.
The second mic should sound the opposite. We want it to be big,
meaty, and full of chunky low end. This mic ends up in different
places with every amp that I use, but most of the time it can be
found 2"-3" from the first mic in any direction. Sometimes
angling the mic towards the edge of the speaker helps, too. This
mic should sound a little dull by itself.
Now record both mics and see what you get. Listen to each mic by
itself first. Then listen to both of them together. Assuming you
like the sound that each mic makes (Remember, you want one to be
too bright and the other to be too dull) you will experience one
of three things.
1) The sound will be extremely thin sounding as if you rolled off
all the low end with a parametric equalizer. This means the mics
are almost totally out of phase. The solution is to push the phase
button on your preamp or mixing software. This is what you want.
You want the combined sound of the mics to be so thin that it isn't
usable. Then when you push the phase button on one track, the tone
comes to life. This is what I always go for.
2) The sound will be big and full. This sound almost means good
things. If you push the phase button, it should sound like what
you may have experienced in #1. If the tone totally dissapears and
all you can hear is some fizz, you've got the tone down. Push the
phase button back to your big guitars again.
3) The sound is weird. You are not sure what it sounds like. It's
not bad, but it's not right either. Pushing the phase button only
changes the tone in the mids and does not have make a big impact
on the low end. In this case, some other frequency is out of phase
and the low end is in tact. You need to use your ears on this one.
I usually don't like to leave the mics like this. I go for #1 or
#2. However, many great engineers use phase cancellation as a way
of eq'ing the amps. This is highly advanced engineering, and not
for the faint of heart However, if you stumble on a sound that you
really like, by all means, go with it.
Well that gives you food for thought. You'll notice that we didn't
talk about different microphones. The truth is if you master the
techniques above, you won't have too much need for more mics. If
you want to expand your mic collection, go ahead. There are a number
of mics that work great for electric guitar amps. Check out my website
ABOUT THE AUTHOR - Brandon Drury has spent more time in his home
recording studio than most people have spent sleeping. He has a
home recording website jam packed with with recording tutorials