Live guitar Sound / Mic questions

Discussion in 'Guitars in General' started by Lucky Dog Guitars, Feb 14, 2008.


  1. Lucky Dog Guitars

    Lucky Dog Guitars Member

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    What is the best mic for capturing live guitar sound?

    Ive heard Royer Ribbon Mic's are very good but I dont want to spend that much..

    Let me know your thoughts.

    Also any other tricks to getting good guitar sound through the live PA would be appreciated.
     
  2. Rusty G.

    Rusty G. Member

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    Shure SM57--industry standard.

    'Nuff Said!
     
  3. rooster

    rooster Member

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    Shure Beta 52A, it's a kick drum mic that does a great job on micing a cab.

    rooster.
     
  4. Rosewood

    Rosewood Member

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    At a minimum sm57, after that you just have to experiment.
     
  5. PKAZ

    PKAZ Member

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    Heil Sound PR30. A new kid on the block, but fabulous.
     
  6. Lucky Dog Guitars

    Lucky Dog Guitars Member

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    Thanks for all the feedback.. I will have to try that kick drum mic too since I already have it
     
  7. GovernorSilver

    GovernorSilver Member

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    You're talking about mic'ing a guitar cab?

    I'm happy with my Sennheiser e906. You can even hang it in front of the cab grille. Same with its slightly cheaper brother, the e609.
     
  8. SFW

    SFW Member

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    SM57 and the i5 are my gotos.
     
  9. Lucky Dog Guitars

    Lucky Dog Guitars Member

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    Anyone had any experience with Royer or other Ribbon mics?
     
  10. loudboy

    loudboy Member

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    Yes. They're the best.

    You'd also have to be insane to consider using one for live use, unless you're playing arenas and have a huge budget.

    I've seen a lot of people using Shure KSM Series mics on guitars lately, but again, that's big touring acts.

    A 57, 609, or Audix I5 will get you there, if it's there to be got... If they can't do it, it's the rig.<g>

    Loudboy
     
  11. Randaddy

    Randaddy Member

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    I use an Audix i5 and I've found that it's in the placement of the mic. There is no rule... we have to experiment and listen. Closer to the speaker cone gives more bass (because of the proximity effect). Closer to the edge (as opposed to the center of the cone) gives less treble.

    I placed my mic in over 20 positions and recorded each one. Yes, I'm serious! Edge of cone, center, half way. 2 inches away, 4 inches, 8 inches. Perpendicular, 30 degrees, 45 degrees. Different combinations of each.

    I mic mine dead center, 8-10 inches away, perpendicular. It gets the sound that I hear with my cab angled up straight at my head, the way I monitor live.

    BTW, the main differences come with...
    1. the distance from the cone and...
    2. the alignment with the mic, i.e., center of cone, edge, or somewhere in between.

    The angle of the mic made very little difference in my experiment.
     
  12. Ray Gianelli

    Ray Gianelli Member

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    I'm with Rusty on this one... the money a Royer would cost would be far better spent on something else, IMHO. The law of diminishing returns really applies here.
     
  13. twangbanger

    twangbanger Supporting Member

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    KSM 32 or KSM 27 for less money, the 32 will run you about $ 450 ,alot less than the Royer but still alittle pricey.
     
  14. guitardr

    guitardr Silver Supporting Member

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    SM57's are taking the lead: they're pretty roadworthy. 58's are the same but have that ball end/windscreen thing over the cartridge. One of the sound guy's with Little Feat loved the EV PL 95/96, and there was also an older EV mike that I saw a roadie use to hammer down a nail in front of a kickdrum (LOL).

    Royer's are great, but ribbons can be sensitive to dropping/smacking. The great thing about 57's is that they're also nice for drums (except kick drums). The Beta series is more appropriate for vocals (altho they can be used for guitars as well). Shure's a a wider network for sales/repairs too.
     
  15. Mattbedrock

    Mattbedrock Silver Supporting Member

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    SM-57 and E609's are my preference. I like them about 6 - 8 inches away from the speaker about half way off center, dead perpendicular. Sounds a little fatter and a little less tinny than dead center. The E609 seems a little more prone to proximity effect if too close - gets boomy. Both have been roadworthy for me. I've had 57's lose their heads from energetic drummers with bad aim, otherwise, they're tough.
     
  16. scottlr

    scottlr Member

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    SM57 here, too. Go to almost any big time show and you'll see a 57 on the guitar most of the time. And you can use it as a hammer in a pinch and it'll still work. I have an SM57 I bought new in 1973, and it still works every bit as well as it did the day I got it.
     
  17. walterw

    walterw Gold Supporting Member

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    i just retired my 57 on my guitar in favor of the e609. the 57 has that 8k peak, which is where my marshall 2203 puts out a lot of unpleasant "hash", while the e609's peak in the 4-5k range seems to be more useful. i use in-ear monitors, so i get to hear the mic basically plugged directly into my ear, and i can finally get a guitar tone i enjoy in my ears with the e609. i'm still experimenting with placement, but so far, just outside the dust cap of my vintage 30 seems to give a good balance of low and highs.
     
  18. jeffwith1f

    jeffwith1f Member

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    I like 57's as well, especially as you are usually assured that that's what's going to be used at your gig at most credible venues (and even some less than credible ones)

    consider though, that mic placement will also have a huge impact on your tone

    centered, off center, how close to the cabinet.
    jeezus, at my last gig, the sound guy took the mic, and just hung it over the amp, so it was basically pointing at the floor in front of one of the speaker cabs.
    removing the floor footprint of a mic stand on a crowded stage was nice, but I'd imagine there are positions that would have sounded better.

    I listened to the board tape, and in fact it sounds alright, a bit brittle and raw, but not bad. I guess it worked.
    starting with tone that I like helps...
     
  19. walterw

    walterw Gold Supporting Member

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    what i used to do in that situation was keep a 1 1/2 foot gooseneck with a mic clip on it in my gig bag, and when the soundman didn't have a proper stand for the 57, i would put the gooseneck in the handle of my combo amp or under the head of my head/cab rig, and bend it down so i could put the 57 on the end of it and aim the mic correctly, all without taking up extra space or lugging an extra mic stand with me.
     
  20. Lucky Dog Guitars

    Lucky Dog Guitars Member

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    I'd like to hear more about special techniques for getting the REAL sound of your amp to actually come out of the PA... Im having a hard time getting that.

    Anyone try micing from behind?.. or different mic angles or other techniques on the board???

    I need help!
     

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