A combo oh Helix hardware and the Helix VST plugin for me. My main patch in my H/W Helix includes a direct out so I can effectively re-amp through the VST Helix plugin later if I so desire. But I also record the stereo analog outs of the H/W helix so I have something immediate to work with in my DAW. Often it's the H/W version that makes the final track.
I used to have a Royer R121 and an MD421 that I’d mix with an SM57 for recording my amps. I used to mess around with a Lawson L47MP Mk II for room sounds as well. Preamp was an API 3124+ and interface was an Apogee Ensemble.
That all stopped when I discovered John Suhr’s RLIR. It’s so good that I can get as good of tones much faster without fear of catching unwanted ambient noise. The stock IRs are effective at setting up different prevalent frequencies for different applications (jangly rhythm, chunky rhythm, fat leads, etc.).
I could never afford to have 4-5 different cabs in my humble little studio so this takes the headaches of all of that out for me.
I still have a nice recording setup for single channel applications: DW Fearn VT-1 for preamp, Lynx Hilo for conversion, Daking FET II compressor and use a L47MP Mk II for Vocals or a Microtech Gefell M295 for Acoustics.
HX stomp for me. I like to record a DI along with the processed sound just in case (also helps with triggering gates for high gain stuff) but I don’t usually go back and reprocess the DI track. I’d rather re-record a part if I need a different sound.
This is born through necessity though as I live in a city row house with lots of street noise and I can’t turn up an amp loud enough. So I’d love to mess around with recording live amps but don’t have the space for it. I am very happy with the guitar sounds I get though so this desire is mostly for the curiosity than tones.
for me the answer is 95% of the time through my two notes captor -> wall of sound plugin in the DAW. Reactive load boxes are so good these days that you don't need to mess with amp sim - just use this $250 box with whatever tube amps you already own and use one of the zillion IRs out there for the speakers. The results I daresay are better than what I was getting back when I was mic'ing amps. If i had the time and budget of a professional project where you have great room, locker full of mics, and expensive mic pres then yes i would go back to mic'ing live amps, but given how good the load box/IR solution has gotten it has become so easy to get very high quality recordings at home.
For close to 15 years I’ve used a Palmer PGA-04 speaker simulator. I’ve gotten good results from it using various amps.
I recently got a new hand soldered custom made amp based on Ken Fischer’s Trainwreck and I was a little wary about using the old Palmer as a load box. It uses some kind of tungsten technology and I was worried that it would croak and burn out my new amp.
So I got a UA OX. I’ve only had it for a week so the jury is still out on whether it’s worth all the dough. So far so good though.
Use either Amp into a Two Notes CaptorX or a Helix Rack (in addition to printing the DI from it). I would have gotten the OX too but I do not have a device to adjust their deep dive settings. In cases I need to use a live amp that I can't connect to the CaptorX, I have a small amp setup into a Bogner 112 cube with a G12M using a Cascade Fathead and SM57. Only use it for amps 18w and under since I don't want to get that loud.
My direct recording setup is dictated by a combinations of laziness and a refusal to pay money for VST amp models. I play through an analog amp-in-a-box-pedal right into my interface. A bit of EQ and some reverb and I'm good to go. I've used a Tronographic Boxidizer, a Bearfoot Murder Hornet and a Joyo Clean Glass. Sometimes if I really need a clean sound to stand out and it's not happening, I'll record an amp with a mic or I'll search the internets for free amp VSTs. The Boxidizer is the secret weapon, as is judicious high-pass on the EQ. On bass, I go from the DI output of my Darkglass Alpha Omega 500 amp directly into the interface. There are three cab sims that I scroll through using a button on the back of the amp. If I don't have my amp around, I go direct from my bass (sometimes with a pedal) into my interface. With bass, unlike guitars, I find that a cab sim or other fake-amp shizzle can make it easier to mix.
I chose “Other”. My method may be weird, but It usually saves me from having to double track. I do add some delay to one of the mic’d tracks post recording. I record 2 cab mics, a direct and room mic just about every time I lay down guitar tracks. The direct I use a DI before the interface. Some times I will use the DI in line mode and use one of my external preamps. The Cab mics are a Shure sm57 & a Royer R10. Sometimes I use an MXL R144 in place of the R10. It records a lot darker (I mean A LOT Darker) and sometimes it’s what I am looking for. The room mic I like to change up now and then. I picked up a Mogami Edition MXL tube mic dirt cheap about a year ago (it was just too cheap to pass up) and it blows me away how well it works in that capacity and on male vocals when run through my 500 series channel strip setup.
When recording guitars/bass I use my AB-Y to send a clean signal directly into my Focusrite, the other signal goes into an amp, pedals, etc etc. That way if I decide later or something went horribly wrong with mic'ing up the cabs I have a back-up to work with.