Mic Choice when Making Studio Profiles

  • Q1: Does the mic you choose make an audible difference in the profile?


    Q2: What is your favorite type and brand of mic to make a profile?


    Q3: What polar pattern do you find works best for profiling?


    Q4: Have you used multiple mics (and a mixer) to make a profile?


    Q5: What mic placement(s) do you use?

  • A1: Mic choice and placement have the exact same effect on the sound of a Profile as they would if you were making a recording of the amplifier.


    I’ll let others speak to their preferences - I suggest starting with something like an SM57, and using placement you see described in free recording tutorial videos, like at http://www.recordingrevolution.com

  • I’m pretty new to profiling myself. I have a few mics but so far I’ve must stuck to the trusty old SM57 and haven’t been disappointed.


    If you need to ask Q1, 2, 3 & 5 then you should probably avoide Q4 ;) sticking a single mic in front of a speaker isn’t rocket science but trying to deal with phase relationships between multiple mics is a whole other ball game (sorry for the mixed metaphors;-) )


  • A1: Yes. Even the placement of the same mic will have a tonal difference.


    A2: 421, SM57, Audix i5, Fathead, Ribbon mics with the first 3.


    A3: Don't even think about it when choosing the mics


    A4: Yes. If I use a ribbon I will blend it with one form A2... Even blending those sound good. (Preferences)


    A5: Preferences depending on desired output.


    A6: Added bonus answer - Try some DI profiles and use other cabs so you can see what you like or don't like when compared to your own cab profile. I have started doing this more often as it provides a consistent profile for me and I can utilize other cabs that have various speaker/mic combinations that I don't have. The only problem with this is that when you find a speaker combination that you like you are compelled to buy it for your own....crazy how that works.

    "More Guitar in the Monitors" :thumbup:

  • I must admit to a bit of obfuscation. I have extensive experience in studio mic placement for both electric and acoustic guitars. I wanted to get a feel for whether a commercial profile of a specific amp using an extensive mic collection might have more appeal. My current mic locker includes an SM-57, an NOS Panther Mk2 and a Sterling ST-159. It's a utilitarian collection, but I plan to add to it.


    Specifically, I am considering purchase of a Townsend Labs L-22 Sphere, both for recording and for making profiles. Between the Townsend plugin and the Ocean Way plugin, the L-22 has 30 models of some of the best mics ever. It is 10 X the price of any of my current mics, but it would cover 10 x the actual mics I'd be able to afford for $1500.



    Try some DI profiles and use other cabs so you can see what you like or don't like when compared to your own cab profile. I have started doing this more often as it provides a consistent profile for me and I can utilize other cabs that have various speaker/mic combinations that I don't have. The only problem with this is that when you find a speaker combination that you like you are compelled to buy it for your own....crazy how that works.


    Thanks. My studio is currently not set up due to a move. I am building new furniture so all my gear will fit into a smaller room. Hopefully that will be done by September. Once I am back up, I will be trying out the Kemper Toast Me editor to try different cabs from others' profiles.


    I already have used my Apollo's effects in the Kemper's loop block with great results. I also use my Kemper loaded with a Direct Amp Profile sent to my Apollo with some of the cabs from the amp UA sims that can turn off the preamp and power amp sections. This gets me some very nice results.


    I am even more excited about the idea of using my Kemper with a UA OX Box. I've tried my '68 Bandmaster with OX Box cabs. They are sweet! Sadly, UA didn't put a line level input on the OX so it requires a speaker level output from a tube amp at its input.


    However, I believe that I have figured out a way to safely connect my Kemper (loaded with a DAP) and the UA OX Box. I want to use its digital side as the cab / room / post KPA effects back end. I will let others here in on the secret if it works once I've tried it out. If I'm correct, the combination of the Kemper (preamp and power amp) and OX (cab) will be stunning.

  • I echo @paults here, head over to his site for some great tips.


    SM57 and a Royer R-121/122 (pricey), paired is nice. Check out Fat Head II's, too. :thumbup:

    If you find the SM57 is a bit fizzy because of the presence peak, the Royer is great. However, at 10 times the price of a 57, I would give the Heil Sound PR20 a go.

    Karl


    Kemper Rack OS 9.0.5 - Mac OS X 12.6.7

  • I haven't had a chance to make any profiles with one yet but I have been mic'ing guitar cabs with the CAD TSM411 for recording and I love the way it sounds. I usually place the mic a little off-axis and I'm getting some of the best recorded guitar sounds I've ever gotten with any mics. It's inexpensive, too. Musician's Friend occasionally has them on sale for as low as $30.


    CAD TSM411


    Brian