motrock wrote:
Electric Guitar. I am recording 2 different amps. One is a Mojave Peacemaker, which is like the old Marshall Plexi's, and the other one is a Splawn Pro Mod, which is like a cross between a Marshall and a Soldano SLO-100. I want to get a little bit better recordings, and it was suggested that I use a much better mic then a SM-57. The guy at Guitar Center told me that an SM-57 was the cheaper more commanly used mic, and that there is much better out there.
Someone threw around the name Seinhizer? (SPELLING?)
Hey Mo,
A few opinions from me....they are opinions not gospel.
- I have a SM57. The dude @ GC that was somewhat dissing the SM57 is a moron. The SM 57 is a great mic for distorted "in your face" guitar sounds. To my ears, the 57 can sound a little bit dark. Throw a 57 on one of your speaker cones, find the sweet spot and hit record. Tough to mess that one up.
- I also have the Sennheiser e609. Also a very good mic for guitar cabs, though much brighter and open sounding (to me) than the SM57. The e609 is also far less placement sensitive and you don't even need to use a mic stand with this one. Just hang the cord over the amp with the mic positioned where you want it. It will stay there.
Yeah, condensers work on guitar cabs when you want alot of detail. They sometimes sound a bit brittle to me when I use them stand alone. I like condensers as a 2nd (somewhat ambient) mic on distorted guitar, usually about 3 ft away from the amp with the height positioned to taste. I'll close mic with the 57 or 609 and use one of my large diapraghm condensers as an ambient mic, record them to seperate tracks, then mix 'em together to get the best of both worlds.....balz from the close mics and depth/clarity from the LDC. If you use the two mic process be careful of phase issues. If your mic placement causes phase cancellation you'll end up with mud.
Gary