Some distance room miking cab profiles

  • Hi everyone,


    i tried to do some 1960 cab profiles with a little more "room feel" in there. The first 2 are with the C3000 at 1 meter distance. The other ones were done with Beyerdynamic MCE87N directional mic at around 1.2 to 2.5 meters. The last ones were done with my normal setup, C3000 and Sm57 close miked, but with the MCE87N blended in.


    Cannot really say if these are of great use, but theres some interesting stuff going on in the midrange which is fun with crunch sounds. Try out and report :)


    http://dl.dropbox.com/u/5902643/TillS_room_cabs_20120309.zip

  • Always wondered if the idea of a farfield miking makes sence. When I record the amp in 3m distance I try to record the sound that I hear 3m away from my amp. so far so good. But when I play through that IR and stand 3m away from my monitor I get another 3m distance and a second room influence added...Hmm, wierd! To have my usual in-the-room sound the membrane of my monitor should put out exactly the same sound as the original cab did and when I stand 3m away from my mon and turn it as loud as my amp I should get my 3m-distance-from-amp-in-da-room-feeling, right?

  • Always wondered if the idea of a farfield miking makes sence.

    Me too actually, thats why i tried it :)


    Using distant mics in a guitar recording can serve different purposes. It adds some room ambience as a sort of natural reverb. However, this doesnt apply to the KPA since it doesnt catpure any reverb tails. The other idea is to overcome the typical microphone proximity effect. The closer you move a mic to the membrane, the more "narrow" the sound image will get. You might end up in something that sounds completely different than the tone you hear yourself when playing your setup. So basically you get a more "realistic feel" when moving away the mic from the membrane. However mics are very different from the human ear and most of the time it is not working as expected. The more you move the mic away, the more comb filter effects you will get because if the reflections in the room. Even worse, you lose a lot of high and low end. You can try to compensate for that by using the EQ on the mixer. I did that on several files. In the end it doesnt sound better than close miking, only different.

  • That's the question: Of course the microfone that is close to the membrane is not hearing the same sound as me, but I guess it should not hear the same! The signal that the mic captures is the signal for another membrane and not the signal for my ear. Before I can hear what the mic heared it has to go once again through a membrane. The idea of capturing the signal that your ear hears seems wrong.

  • A good trick to try is to set the mic at the position that you want it, and whilst monitoring through headphones (or ideally monitors in a different room) change the settings on the amp to get the sound via the mic that you want. Don't worry too much about the sound that is coming from the amp, it may appear too bright or too dark in the room, but adjust the amp settings so that the sound you get through the mic is the one you want.

  • Getting the sound that I want is quite easy. It depends on the right mic for me. I love how an E609 captures the sound or a MD421 or a Rode NT-2a. Somehow that's just what me, the player, prefers. FOH-people don't like an E609 that much, too much open highs and too low lows and the missing midhump. BTW I believe they wouldn't like any in-the-room-sound too, that's another sound for the player himself.

  • For FOH you really have no option but to close mic, but for studio work it is definitely worth playing around with distance micing and changing the amp settings to compensate for the mic distance (lower the mids etc). You can make some guitar sounds sit in the mix really well with this approach as it gives great depth to the recording.


  • For FOH you really have no option but to close mic, but for studio work it is definitely worth playing around with distance micing and changing the amp settings to compensate for the mic distance (lower the mids etc). You can make some guitar sounds sit in the mix really well with this approach as it gives great depth to the recording.

    I agree to some point. Somehow those ultra sharp highs get a little more balanced. But i really think the main aspect is the room ambience. So no luck with KPA here. I still would like a convolution reverb to make that possible.

  • ..to this day
    i still swear by the convolution reverb in revalver. I have not found anything that gives me a room sound like that.
    i was hoping that the speaker room in Axe 2 would active this but alias - no.
    When i hear the old masters like Mick Ronson and Brian May - i hear this wonderful dimension that i strive to achieve in irs.
    Obviously very hard to get. "Dimension" is an important quality in speaker sims. I hope Chris looks at convolution reverb in the future

  • Thanks very much for these cabs all of your uploads have been outstanding 8o

  • ..to this day
    i still swear by the convolution reverb in revalver. I have not found anything that gives me a room sound like that.
    i was hoping that the speaker room in Axe 2 would active this but alias - no.
    When i hear the old masters like Mick Ronson and Brian May - i hear this wonderful dimension that i strive to achieve in irs.
    Obviously very hard to get. "Dimension" is an important quality in speaker sims. I hope Chris looks at convolution reverb in the future

    +1.
    And i'd like to have some other controls over the cabinet section like speaker distortion and crunch like in revalver.
    It's an amazing VST/AU.