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Post by ss "Shane" on Jul 23, 2017 12:23:34 GMT -7
I know this is asking a lot, but could somebody please post a pic of a 112 cab (preferably a Z cab) with a mic in its proper placement?
If not, could somebody school me with some good mic placement literature? It seems like so many "sound techs" in my area have their own silly theory about this subject and it's a little frustrating lol. Thanks!
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Post by zpilot on Jul 23, 2017 13:39:54 GMT -7
There is no "proper" placement. Start with it centered on the speaker cone and a couple of inches off the grill and then start moving it closer to the edge until you find a spot that sounds good to YOU.
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Post by ss "Shane" on Jul 23, 2017 14:16:43 GMT -7
There is no "proper" placement. Start with it centered on the speaker cone and a couple of inches off the grill and then start moving it closer to the edge until you find a spot that sounds good to YOU. Ok thanks! I thought there was some rule of thumb like angling the mic a particular way and certain distance from the grill. Most of the sound guys around here have their own theories and for the most part their all different.
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Post by sharkboy on Jul 23, 2017 17:18:39 GMT -7
A lot of things work fairly well, but some combinations are more difficult. Most dynamic mics can work well reasonably close. It's good to watch some YouTube videos about mic placement to draft on experiences of others. The place I start is with a dynamic aimed straight at the cab, aimed at the ring dividing the cone and the dust cap of the speaker at about a foot away. If I am adding another micto capture the same wave, I place its element at the same distance from the speaker front and aimed at the same distance from the dust cap and as close as I can to the first mic. These are usually dynamics, but if I don't play loud and have tough ribbon mics, that is a nice thing to use. Then I like to place a condenser mic elsewhere in the room to get some cabinet/room effects. Testing each for phasing, since that can give me three options to use for blending later. If you get the first one really right, you shouldn't need the other two, but it can be nice to have differing options at mixdown.
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Post by zpilot on Jul 23, 2017 21:14:47 GMT -7
It's going to vary depending on the speaker, the mic, and the guitar being used. I could tell you my preferences but they are just that, mine. If you are interested here goes. For live work I like my Sennheiser 906 placed facing directly toward the grill and half way between the edge and center of the speaker. A SM57 works almost as well.
In a studio I like an AKG C414 placed dead center on the speaker and about 12 to 18" away. I mix this with an omni-directional mic placed several feet away and off axis. No particular preference of mic here. I usually place the close mic somewhat off center in the mix with the omni mic the same distance to the other side. You might want to experiment with the phasing of the two mics. That's where I start. You might wind up mixing the omni way down or not using it at all. But it's there if you need it.
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Post by deltone on Jul 24, 2017 10:06:01 GMT -7
Moving from the edge of the speaker towards the center (dust cap), the brighter the tone will become. Work from the center out toward the edge, and then do the same thing from the edge toward the center. You'll find the optimum point for the tone you prefer. It's really no different than setting the eq knobs on your amp.
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Post by ss "Shane" on Jul 24, 2017 11:27:26 GMT -7
This is the stuff I was looking for. Thanks guys!
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Post by GuitarZ on Jul 24, 2017 12:06:20 GMT -7
After my own research a few years back, I ended up going about midway between the center and outer edge with the mic angled towards the center. So, there's another variable.
But, like above you can adjust the angle or position to find a sweet spot.
I'm not sure if we helped. So many options.
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Post by LT on Jul 24, 2017 15:24:05 GMT -7
After my own research a few years back, I ended up going about midway between the center and outer edge with the mic angled towards the center. So, there's another variable. But, like above you can adjust the angle or position to find a sweet spot. I'm not sure if we helped. So many options. I do this as well. For years I used a 57 live, but recently bought an EV PL35 that really brings out the lower mids while being louder and just as clear as the 57.
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Post by zpilot on Jul 25, 2017 6:06:14 GMT -7
The closer you have the mic, the more critical it is how you angle it. That is assuming you are using a directional mic like an SM57. I like the mic 6" or a little more from the grill because it picks up the overall speaker instead of concentrating on a hot spot. Sometimes you can't do that on a crowded stage or if you are getting bleed from another instrument.
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Post by dixiechicken on Jul 25, 2017 14:01:14 GMT -7
DC here! As someone said there is NO right or wrong position in this. It's all a matter of taste and what works for you and the guys you work with. Most sound engineers seem to prefer the mic to be placed a bit on the side from from the center cone of the speaker. Distance from the speaker itself determines how much room reflections and ambience you want in the sound. A common trick was to use two mics for recording - one close miked and one at the other other end of the room. YMMV - experiment! Cheers: Dixiechicken!
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