Guitar Gear Forum

So gone down a bit of a rabbit hole with mics on my 4x12. Any thoughts on this clip? 4 different mics one at a time. No post or eq except the ribbon, which I dumped some lows. Anyone liking any of these or suggestions to improve? This is my SD-1, Blankenship Plexi, ho attenuator and 1960BX. mics are E906, Heil PR20, SM57 and SE VR1 ribbon. the dynamic mics are all right where the cone meets paper, ribbon is cone dead center. TIA!
https://m.youtube.com/watch?v=JBXbOIPnW6A

On its own I like the ribbon best, but it may not sit best in a mix, depending on the mix, obviously.

I'd pick two that contrast a bit, put 'em in stereo, slap a bass and drums under it and see what sounds cool. None of them are bad.

How are you positioning the mics? Like...are you just positioning them based on sight, looks like it's pointing between here, and then going? I've been trying to place based on sound. I haven't even been looking at where the mics are pointing, and the results are leaps ahead of trying to place by sight.

I agree, I like the ribbon best on it's own. Combine it with the 57 and you might have something balancing nicely. The PR20 has some of that top that might help it cut. The 906 definitely has that rolled off top, but maybe seems a bit duller in comparison.

nightflameauto wrote:On its own I like the ribbon best, but it may not sit best in a mix, depending on the mix, obviously.

I'd pick two that contrast a bit, put 'em in stereo, slap a bass and drums under it and see what sounds cool. None of them are bad.

thanks man!!

NinjaRaf wrote:How are you positioning the mics? Like...are you just positioning them based on sight, looks like it's pointing between here, and then going? I've been trying to place based on sound. I haven't even been looking at where the mics are pointing, and the results are leaps ahead of trying to place by sight.

I agree, I like the ribbon best on it's own. Combine it with the 57 and you might have something balancing nicely. The PR20 has some of that top that might help it cut. The 906 definitely has that rolled off top, but maybe seems a bit duller in comparison.

thanks man! for positioning the e906, pr20 and sm57 are all right where the cone meets paper, ribbon is on the cone dead center.

nightflameauto wrote:On its own I like the ribbon best, but it may not sit best in a mix, depending on the mix, obviously.

I'd pick two that contrast a bit, put 'em in stereo, slap a bass and drums under it and see what sounds cool. None of them are bad.

I agree with all this

dstroud wrote:

NinjaRaf wrote:How are you positioning the mics? Like...are you just positioning them based on sight, looks like it's pointing between here, and then going? I've been trying to place based on sound. I haven't even been looking at where the mics are pointing, and the results are leaps ahead of trying to place by sight.

I agree, I like the ribbon best on it's own. Combine it with the 57 and you might have something balancing nicely. The PR20 has some of that top that might help it cut. The 906 definitely has that rolled off top, but maybe seems a bit duller in comparison.

thanks man! for positioning the e906, pr20 and sm57 are all right where the cone meets paper, ribbon is on the cone dead center.

Right, you mentioned this in the OP. I'm just saying, are you using a flashlight and positioning the mics based on that, or are you tweaking the position with headphones and finding where it sounds best? I found this to be a game changer for me.

NinjaRaf wrote:

dstroud wrote:

NinjaRaf wrote:How are you positioning the mics? Like...are you just positioning them based on sight, looks like it's pointing between here, and then going? I've been trying to place based on sound. I haven't even been looking at where the mics are pointing, and the results are leaps ahead of trying to place by sight.

I agree, I like the ribbon best on it's own. Combine it with the 57 and you might have something balancing nicely. The PR20 has some of that top that might help it cut. The 906 definitely has that rolled off top, but maybe seems a bit duller in comparison.

thanks man! for positioning the e906, pr20 and sm57 are all right where the cone meets paper, ribbon is on the cone dead center.

Right, you mentioned this in the OP. I'm just saying, are you using a flashlight and positioning the mics based on that, or are you tweaking the position with headphones and finding where it sounds best? I found this to be a game changer for me.

ahhh yes! flashlight method. great idea on the phones, ill give that a go as my amp is in the same room as my studio

dstroud wrote:

NinjaRaf wrote:

dstroud wrote:

NinjaRaf wrote:How are you positioning the mics? Like...are you just positioning them based on sight, looks like it's pointing between here, and then going? I've been trying to place based on sound. I haven't even been looking at where the mics are pointing, and the results are leaps ahead of trying to place by sight.

I agree, I like the ribbon best on it's own. Combine it with the 57 and you might have something balancing nicely. The PR20 has some of that top that might help it cut. The 906 definitely has that rolled off top, but maybe seems a bit duller in comparison.

thanks man! for positioning the e906, pr20 and sm57 are all right where the cone meets paper, ribbon is on the cone dead center.

Right, you mentioned this in the OP. I'm just saying, are you using a flashlight and positioning the mics based on that, or are you tweaking the position with headphones and finding where it sounds best? I found this to be a game changer for me.

ahhh yes! flashlight method. great idea on the phones, ill give that a go as my amp is in the same room as my studio

I didn't do this for a long time, and always had inconsistent results. But I started doing this recently...since I got my RME interface, and it's been a great way to consistently get good results.

i got a led flashlight the same size as a 57 and tried to line it up with the center of the cone then i traced it, makes it a lot easier. im sure with a black sharpie you wouldnt even see it.

RaceU4her wrote:i got a led flashlight the same size as a 57 and tried to line it up with the center of the cone then i traced it, makes it a lot easier. im sure with a black sharpie you wouldnt even see it.

oh man great idea!!

NinjaRaf wrote:

dstroud wrote:

NinjaRaf wrote:

dstroud wrote:

NinjaRaf wrote:How are you positioning the mics? Like...are you just positioning them based on sight, looks like it's pointing between here, and then going? I've been trying to place based on sound. I haven't even been looking at where the mics are pointing, and the results are leaps ahead of trying to place by sight.

I agree, I like the ribbon best on it's own. Combine it with the 57 and you might have something balancing nicely. The PR20 has some of that top that might help it cut. The 906 definitely has that rolled off top, but maybe seems a bit duller in comparison.

thanks man! for positioning the e906, pr20 and sm57 are all right where the cone meets paper, ribbon is on the cone dead center.

Right, you mentioned this in the OP. I'm just saying, are you using a flashlight and positioning the mics based on that, or are you tweaking the position with headphones and finding where it sounds best? I found this to be a game changer for me.

ahhh yes! flashlight method. great idea on the phones, ill give that a go as my amp is in the same room as my studio

I didn't do this for a long time, and always had inconsistent results. But I started doing this recently...since I got my RME interface, and it's been a great way to consistently get good results.

dude thanks so much for this. I just did this with a single 57 and got better tone than any of these clips. it’s crazy how even having the mic 1/4 inch closer or farther from the grill changes the tone!!

dstroud wrote:dude thanks so much for this. I just did this with a single 57 and got better tone than any of these clips. it’s crazy how even having the mic 1/4 inch closer or farther from the grill changes the tone!!

Now that you've done that with one mic? Try a second and blend them, moving the second around. You can get some wild stuff going on with comb filtering, but there will come a point where they sync up and you get huge bottom end, super clear highs, and fat sounding mids. Plus, playing around with it, you can sometimes find a spot that filters out the worst of the boxy region (700-900, depending on amp/drive) without making it sound empty.

dstroud wrote:

NinjaRaf wrote:

dstroud wrote:

NinjaRaf wrote:

dstroud wrote:

NinjaRaf wrote:How are you positioning the mics? Like...are you just positioning them based on sight, looks like it's pointing between here, and then going? I've been trying to place based on sound. I haven't even been looking at where the mics are pointing, and the results are leaps ahead of trying to place by sight.

I agree, I like the ribbon best on it's own. Combine it with the 57 and you might have something balancing nicely. The PR20 has some of that top that might help it cut. The 906 definitely has that rolled off top, but maybe seems a bit duller in comparison.

thanks man! for positioning the e906, pr20 and sm57 are all right where the cone meets paper, ribbon is on the cone dead center.

Right, you mentioned this in the OP. I'm just saying, are you using a flashlight and positioning the mics based on that, or are you tweaking the position with headphones and finding where it sounds best? I found this to be a game changer for me.

ahhh yes! flashlight method. great idea on the phones, ill give that a go as my amp is in the same room as my studio

I didn't do this for a long time, and always had inconsistent results. But I started doing this recently...since I got my RME interface, and it's been a great way to consistently get good results.

dude thanks so much for this. I just did this with a single 57 and got better tone than any of these clips. it’s crazy how even having the mic 1/4 inch closer or farther from the grill changes the tone!!

Nice! Yeah, it's pretty eye opening.

nightflameauto wrote:

dstroud wrote:dude thanks so much for this. I just did this with a single 57 and got better tone than any of these clips. it’s crazy how even having the mic 1/4 inch closer or farther from the grill changes the tone!!

Now that you've done that with one mic? Try a second and blend them, moving the second around. You can get some wild stuff going on with comb filtering, but there will come a point where they sync up and you get huge bottom end, super clear highs, and fat sounding mids. Plus, playing around with it, you can sometimes find a spot that filters out the worst of the boxy region (700-900, depending on amp/drive) without making it sound empty.

yeah absolutely, the ribbon is next and i will def do some playing around with lining up the waveforms. thanks man!!

I like the ribbon and the 906. 57 is great too.

GuitarBilly wrote:I like the ribbon and the 906. 57 is great too.

thanks man appreciate the feedback!!

I liked the ribbon the best. However, i suspect in a whole band mix i'd probably like the e906 the best.

Of all the mics, which i'd use live would be the e906 by far due to the ease of mic'ing and having really good tone when placed good.

overdrivenel34s wrote:I liked the ribbon the best. However, i suspect in a whole band mix i'd probably like the e906 the best.

Of all the mics, which i'd use live would be the e906 by far due to the ease of mic'ing and having really good tone when placed good.

thanks man! Yeah there is something about the 906 I really like, need to do some placement experimenting

RaceU4her wrote:

Cab nipples

Ribbon and the 906 for me, by themselves. But I do think a mix would be killer.
A well placed 57, or one of the others, with the ribbon would probably be the win.

Lance-a-not wrote:Ribbon and the 906 for me, by themselves. But I do think a mix would be killer.
A well placed 57, or one of the others, with the ribbon would probably be the win.

hey thanks man yes what you are saying is exactly what I’m finding

Devin wrote:

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