MrSpaghetti
Joined: Nov 11, 2008
Posts: 91
Detroit, MI
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Posted on Dec 24 2009 09:15 AM
I guess this could apply to the Bassman, Super-Reverb, but in my case, a Peavey 4x10 Classic 50.
We've ran into this dilemma with our first recordings for our album because my tracks were 'thinning' out. My suggestion was to double-track them to thicken them up but no one was really vibing with it or wanting to try it out.
So were onto our next album and I really want to use this super bad ass amp that sounds and plays great. My pops (BigKen) just upgraded my reverb tank with one with a longer decay much like his in his twin. And did it make a such great improvement!
Anyways, I was wondering if anyone here has had the same issues when recording a 4x10 cabinet or amp? Is it a ground loop problem? Would I have to try using 2 mics instead of 1 then mix the two signals? Ive tried this before and we were getting close, but then we just swapped out my big amp for a Blues Jr 1X12 in the studio and it of course recorded very good. But personally, I really dig the tone my Peavey produces with the reverb cranked and with a Jazzmaster pumping through it. To me it is my tone and my sound and a 1x12 blues jr isnt... if that makes sense?
Any help is appreciated!
— Knarle Tide
http://www.facebook.com/knarletide
http://www.reverbnation.com/knarletide
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JakeDobner
Joined: Feb 26, 2006
Posts: 12159
Seattle
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Posted on Dec 24 2009 09:58 AM
Double tracking is awesome and always worth a shot! Also, you can record both tracks in stereo, or just play into both amps. I recorded with two Super Reverbs on the last album and I record one amp with reverb and one without reverb. It created a big sound.
Also, with just a single 10" through only one amp, I still got a big sound. I don't think there is a reason that a mic'd single 10" should thin out. People have used tiny amps and tiny speakers to get huge sounds.
Are you mic'ing the room behind it as well?
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MrSpaghetti
Joined: Nov 11, 2008
Posts: 91
Detroit, MI
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Posted on Dec 24 2009 11:07 AM
weve tried micing behind the amp with a dynamic mic and mix that signal with the mic on the speaker in the front if thats what you mean.
i really want to try the double tracking with out a doubt.
my guess as to why it's thinning out is due to some kind of phasing issue that we cant figure out.
but this time around i want to get it right and use this bad boy...
thanks for the input jake, our next session is more than likely after the holidays are done and over with and im going to bring the big amp.
— Knarle Tide
http://www.facebook.com/knarletide
http://www.reverbnation.com/knarletide
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Paisley
Joined: Sep 15, 2008
Posts: 110
Melbourne, Australia
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Posted on Jan 02 2010 03:15 PM
MrSpaghetti
weve tried micing behind the amp with a dynamic mic and mix that signal with the mic on the speaker in the front if thats what you mean.
my guess as to why it's thinning out is due to some kind of phasing issue that we cant figure out.
Did it thin out more so when you mic'd the back of the cab as well? Good chance the signal is out of phase, as you're picking up both positive & negative poling of the speaker at the same time. Good way to check for this is to mono the mix; if the mic's are out of phase, the guitar track will just about disappear altogether.
I'm a big fan of double tracking; nearly always has great results. Also, choice of mic is important too; try a few different mics (& combinations of mics).
I find ribbon mics great on Guitar cabs, although in some cases a simple SM-57 is the best thing to make a Guitar track cut through the mix.
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TsunamiFive-0
Joined: Feb 03, 2010
Posts: 9
Central Minnesota
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Posted on Feb 21 2010 08:39 PM
yep can't beat a SM57 for the price and durability.
if using two mics on one cab be careful of phasing issues there as well.
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VoodooGuitar
Joined: Oct 01, 2009
Posts: 11
Asheville, NC
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Posted on Jun 29 2010 01:52 PM
I've had luck with mic'ing a 4x10 cab with 2 mics. I will position the front mic off center from the cone of speaker, then angle the back mic about 45 degrees from the front mic. Be sure you engage the Phase Button of the Back Mic.
Something doesn't sound right move the Front Mic back or forward a bit.
Once tracked, Pan Hard Left / Right and adjust levels. Works for a 2x12 cab as well.
More info can be read at TapeOp mag.
Best of Luck.
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DaddyG
Joined: May 13, 2010
Posts: 12
saint petersburg fl
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Posted on Jun 29 2010 02:05 PM
for my recordings i like to Mic with an sm57 and direct line with a 25% pan to the left and 25% pan to the right, it has worked for me, im using a 1974 fender twin reverb.
— Surf!!Get Drenched Surf!! Get Wrenched
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dp
Joined: Feb 26, 2006
Posts: 3546
mojave desert, california
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Posted on Jul 05 2010 11:51 AM
DaddyG
for my recordings i like to Mic with an sm57 and direct line with a 25% pan to the left and 25% pan to the right, it has worked for me, im using a 1974 fender twin reverb.
a speaker cab mic and a direct line off of the amp (or a DI box) is the way I approach bass... two mics might work, as long as you avoid the "out of phase" issue mentioned above...
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CarlTheTiger
Joined: Jul 14, 2010
Posts: 10
Central Texas
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Posted on Nov 11 2010 12:55 AM
Previously, I've either recorded two amps with Sm57s (a 1968 Fender Bassman into an Ibanez 4x12 cab and an Egnater Rebel 20 into an Egnater 1x12 cab) or the Bassman up close with an SM57 and a Shure KSM32 out in the room (being careful to avoid phasing issues).
I just got a Little Labs Red Eye DI/re-amp interface and will be doing some recording in the next week or so to give it a try. It should open up a lot more possibilities in terms of amps and mics. I'm also itching to record the 1968 Fender Bassman 2x12 speaker cab I picked up recently.I'll post a report after I give it a try.
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dp
Joined: Feb 26, 2006
Posts: 3546
mojave desert, california
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Posted on Nov 16 2010 08:05 PM
Near mic and far mic works well for 10" speaker setups. The near mic on the cone edge gives bite and presence, the far mic gives body and ambiance and can effectively pick up the true power of an "at-volume" 10" system. EQ, pan and adjust levels so that each mic presents its own distinct voicing. Then mix to taste being sure to note (and adjust for) any out of phase comb filtering. I have used this sort of setup with a fine Silverface Fender Quad with great effect.
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