stereo micing- whats your technique?

Edited by Slartibartfast - March 30 2010 at 13:32

Recording sound : progressive rock, power metal, sounds like : Andromeda, dream theater, frost*, vai,   the lighter stuff sounds like the flower kings, magenta, IQ, Ayreon (later stuff)

Im actually using a Mbox2 pro and running on pro tools six :(    I have two Audio Technica 2020’s though I wish I had some 4033’s at least.   If i had a TLM 103 then I would probably just record twice and blend the tracks( don’t know if that would be practical with the guitars).  What I have been doing is trying to face the diaphragm of the mic almost directly over the speaker where the cone and the dust cap meet.    I do this to two different speakers. Obviously trying the keep both microphone diaphragms the same distance from the speakers as to avoid cancelation.  I guess what my biggest question is.  When capturing the sound of an amp using two mics,  is my ultimate goal to try and match the sound being captured in each mic.  Or do I want one mic to capture a more treblelish tone while the other captures more middyer or bassier tones, and then blend them?   Should I use various techniques depending on whether I am recording rhythm tracs(to try and make a wall of guitar sound)  or if im recording a solo trac (use the blending technique)?  


  I usually apply a noise gate digitally via pro tool’s but never can seem to get it just right without getting to choppy. I know that comes with experience and understanding the mechanics of the noise gate.  I also usually dont apply any other effects to the guitar sound other then reverb, sometimes.  I may apply some chorus/ delay effects to the lead guitar to try and mimic a vai sound (i love Vai’s sound for songs like “Kum-Pee-Du-Wee” “Glorious” “building the church”)  

Also,  I have been recording bass through a line six pod, then plugged into the mbox.   I have to cut so much bass (usually around the 150-300hz range). Then I boost the upper frequencies.   I do this because there is always so much drowning bass.  then I end up with a clicky bass sound. maybe Im doing something completely wrong.  as I write this i realize I suck!!!  Anyway, what is your all’s recommendations on recording bass?  Should I just record it line in, using the mbox as my direct box?  Get a separate direct box and plug into the mbox?  Im so lost!!!

agree with Jay... if what you want is a wall of distor, the double tracking of rythm guitars mixed L and R is what you are up to. I recorded my songs that way and the result is quite good, but I didn't used mics to that... just from the pedalboard direct to the console... so I didn't used mics but I'm planing to do it next week and see what can happen...

Negoba wrote: I do think there is something to having air in your signal chain, especially for distorted guitars. I sometimes actually do both and mix those signals, or even use those two signals as the hard left and right. The thing is to experiment and see what you get and what you like. Some guitars that sound great through a PA sound terrible recorded and sometimes you can get some really interesting things on record with a junk guitar that's otherwise noisy or useless. Just experiment and see what you like.

Negoba wrote: It depends on the room. On heavy distorted guitars the mids are what matters the most, so that's why just jamming an SM57 in front of the cone works so well. My standard metal sound is to actually record two takes and hard left those right and left. But in general, a room mic is trying to get reflections and higher frequencies so you move it around the room and see what you get. You're not trying to get a good sound out of that mic, you're trying to get the sparkle and harmonics that get drowned out by close micing. You can even cut alot of the low frequencies out of that track (which is often room rumble anyway) and then just add those harmonics in.

I have a pair of tiny speakers in my bedroom. That's all I need.f

bass is trickey. A simple line in may be the best bet. But definetly try not to use noise-reduction as this takes the highs and lows away a bit. I like the two mic with the one near the cone and maybe the other one away to take in the overall room sound. Just experiment and see what sounds best. You'll get there. I found it hard to get a straight "crunch" sound with guitar (without pedals) but using a mtriad of loops and what not , you can find the sound, even if your ZZtop sound comes out sounding like Dylan, keep trying. That's the fun of it