Discussion in 'Recording/Live Sound' started by jzucker, Jan 12, 2006.
SM57 off the corner of the speaker seems to be very bright. Any suggestions?
Well the rig has alot to do with that tone. I assume your using a strat and a tube screamer and some sort of fender amp. IF your pickups are stock strat pickups there maybe your problem. SRV's were overwound and that cuts alot of the highs....
Your book rocks by the way.
Thanks about the book.
Regarding setup, the ambient sound is good but what gets to "tape" when mic'd with an sm57 off-axis is bright without the fullness.
It's my understanding that the pickups in SRV's Number One were commonly thought to be the ultra-hot overwound variety, but upon close examination by the Fender custom shop the pickups turned out to be underwound and measurably weak in output.
The point in placing a 57 close to the speaker is to capture the tonal definition of the upper frequencies. To capture depth and fullness a mic needs to be placed 3-6 ft. from the cab. A large condenser combined with a 57 should capture the best of both ends of the spectrum.
I guess just blend the two mics then....
I suppose you've tried putting the mic in other locations? And angling the mic off-axis to take out some of the brightness?
Also remember that what you hear on SRV recordings is not only the guitar/pedals/cab but an analog tape machine which could be hit with a TON of level, a big analog console with lots of headroom, EQ, compression/limiting, effects, etc etc etc....
oh, and very good producers, and engineers who recorded guitars every freaking day for many years...f'rinstance grammy winner John Hammond on Texas Flood...
If the tone's too bright, that'll be the first thing to try. Try placing the mic at wider angle in relation to where the speaker is pointed to. Also put it farther away from the speaker (which will increase the low end response).
Mic placement is fun to experiment with. It makes radical differences. Have fun!
Try another mic in the back of the cabinet. Youy may have to flip phase, but you'll get a TON more body, and if you pan them, the imaging can be almost scary.
ari seems to be in the right direction.
Richard Mullen engineering would be a big plus.
Did Richard Mullen engineer the road gigs? Live at the El Macambo sounds deliciously like Texas Flood...
I'd try pulling the 57 back off the speaker a foot or so.
You might also try a different mic. I used to use an EV 357 to mic my 4x12 when recording because it had a smoother high end and more low end than the 57 I have.
An AudioTechnica 4047 will give you alot more bottom end - more "chunk".
a Royer 121 or 122 will give you sweeter treble.
The closest I ever came to that sound was buying a '64 Vibroverb with 15" JBL. I walked into the store, played for 5 seconds....handed over my credit card.
That amp IS the sound of El Mocambo.
From what I understand, using multiple amps and blending them together was a big deal to a lot of SRV's tone...
Again I point back to the el macambo video where he was just using one amp. The in-the-beginning cd was good too. The sound wasn't the big wall of sound he had later but my guess is that he switched the the JBLs and EVs sometime after that.
I got that video it looks to me like there is more than one amp there..I could be wrong ....There seems to be alot of "gakk" and booze in his tone on the El Mocombo...but man he rips.
I'm pretty sure the other amp's just a backup.
If you watch that dvd closely at the start of the song "wham"
(last song of the show) you can clearly see a third amp, just below the
rack of guitars..My guess is all three amps are on, he is pushing a lot
of air on that stage......(third amp might be a boogie can't tell for sure)
anyways that dvd is like gold.................
Assuming the tone sounds "right" to you, I like the Sennheiser e609 for clean through crunchy guitars. For whatever reason, I find it easier to get "big" tones with that mic than with a 57. It is a lot more forgiving on placement than the 57. That said, I like to use them both, the e609 for smoothness and the big feel and the 57 positioned to really focus on the attack sounds.
When I'm in the mood for ridiculous over-micing of the super reverb:
e609 on the grill, on the same horizontal line as the speaker, just over half way towards the edge of the speaker.
Beta 57a angled towards the dustcap, with the distance and position relative to the speaker changing depending on brightness of the sound, how much attack I want.
SM57 in the back, usually have to flip phase, but you can get a good woody tone that way.
Royer 121, 2 feet or so off the amp, sometimes farther.
This makes it easy for me to get the sound I hear in the room on the record, and I can push the sound in a lot of different directions with panning and mixing, without adding a lot of eq.