Mics Vs. EQ?

And you will spend some more 40...months to learn only the basics to record an electric guitar..

Actually this is a very difficult thing.One need many years of expirience and some top class "teachers" to learn this.I had some of the latter but still I would never claim that I am good at it.Sometimes Iget want I want,often I cant sleep because of my frustration after recordings..

One very good teacher gave some insight;
http://www.badmuckingfastard.com/sound/slipperman.html

ps. I already posted this link in another thread.Greetings

Wow, I'm sorry for you, you should start with just an SM57 and no preamp and try to get a good profile out of it. I had some great profiles from just my JTM30 and the 57 . Of course you amps should be dialed at their sweetest spots (often very loud !).

Also check the thread foolproof mic positioning over here

Hopefully there is no eq'ing (other than amp eq. settings) so you are getting the natural amp sound profiled and not an artificially produced profile. Once profiled if you like eq. you can then add it. You should be able to get good results with your mic and good cables. I set my Fathead II mic about 7" back form the center of the cone and profiled my Dr Z and was pleased with the sound and balance. Try something like that with the Fathead II and then try the 57 alone on the btm. of the speaker angled slightly up toward the cone but placed at the edge of the cone. You should be able to get good profiles and then go from there.

Use only one mic first. Do you have the cab isolated in another room so that someone can move the mic around while you listen through monitors? If not, make recordings of the mic in different positions and angles.

There's no McDonalds approach to guitar micing. Experiment, experiment and experiment - and remember and learn. Take frequent breaks. Expect to use many months (using moderate amounts of time regularly) before noticing big improvements.

Learn the basics of how mic placement affects tone (closer to center vs. toward cone edge, close vs. far, angled versus straight on - and all nuances and points in between). Cab placement in the room also affects the tone.

Start off with just one of the mics.

Forget EQ for now. You'll just cover up stuff, not really fix it. E.g. you may need to cut some bad sounding stuff, but at the same time cut some of the good stuff you need. And EQ can't add what's not already there.

Take your time - take it as a learning experience, and make it a hobby rather than a chore

Also: Have an idea of the tone you wish to achieve first, with each session (after exploring the basic effects of mic movement first).

Couple of things that might help... and I've been saying the same thing for over three years here:

Start with ONE mic. SM57 because they are cheap and we know how they sound.
Get a good cab and a good amp. You probably know this, but it bears repeating.
Put your cab in another room, preferably one that is isolated so you can crank it without too much bleed. This way when you profile your amp, you're hearing the sound of the mics without your live amp bleeding over it. Sure you can profile in the same room, but it's a hell of a lot harder because you don't really know what you're getting until after the fact.
If you have the mic in another room, then you can move it around until it sounds good. A great starting point for one mic is straight at the speaker, about 1/2" or so from the edge of the dust cap, at least on a V30. Move it more to the center for more treble, toward the edge for less. Closer for more thump/low end, further back for less.
also, monitor your kemper and the mic with whatever you are going to be using it through. I do my commercial stuff with KRK VXT6s because I know how they sound. If I'm doing stuff specifically for ME, I'll monitor with an Alto which is what I use live. I know the Alto doesn't reproduce as well as the KRKs, but it works well for me if I want to do some profiles that are just for my live use.

If you're not in a different room than the cabinet you are miking, you are really making it hard on yourself.

Pete

Quote from gtrgriff3

Thanks Pete... I am isolated from the cab, it's 2 rooms away and there's no bleed.

I've been experimenting with the 57, TULG12, Cascade Fathead II, a U47 clone and a couple other mics I have floating around.

I do generally start with a 57 because that's what I know the sound of... and I monitor back through an atomic CLR, QSC K10, Presonus studio monitors and my IEMs (Shure 535) so I'm hearing well what's going on.

I'm actually starting to think that room/placement of the amp is what is tripping me up so I'm going to play with some acoustic baffling and changing the environment around the cab.

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If you close mic, room doesn't mean much if anything. When I first received my Kemper, I went into several different rooms to find the best sounding one in my house. There was very little difference between rooms - I even tried a bathroom that was very echoey because of tiled floor and walls, my garage, my live room where I track my bands, and even a hallway. no real difference if close miked.

It's your mic placement. Try just running the SM57 and the Kemper only, don't mess with other mics yet. Get something good with that first, then slowly branch out. And don't use a preamp, it's not going to make much of a difference on a 57 unless it varies the impedance. Right now, keep it as simple as you can. If you can get a miked sound off your cab that you like, then you can get a good profile with the Kemper.

Pete

If possible, also try different cabs or speakers. Have someone to assist you moving the mic in the live room with headphones on while you monitor in the other room. Let him shift the mic while you find the best possible positions for the mic. Use a mic to communicate with the other person in the live room. When you got a sweet spot, use some chalk to mark the position and take a photo.

To be honest. if your new to micing up amps, then I'd NOT start with a Dynamic, specifically a 57, - 57's are well known, but do not really capture the sound of an amp, but capture a small relative tone chunk of that speaker (Im trying to put it into laments terms here).. 57's are "industry" standard because they do the work for you (from a mixing POV) it dispels a lot of the original amp sound.. when first trying things out this can confuse a lot of people..

AS your new to this, you will always try and compare the real amp tone with the Mic tone, and its perfectly natural to think like this. - although IN time this will change as your hearing will get used to things. - BUT.. to start off, I'd go with any Ribbon (Fig8 or Omni) capable mic, as this will help you identify the real amp versus the Miced amp a lot easier. - then when you have learned the art in identifying freq/positions and proximity etc etc, then move onto a more specialized mic such as a 57 where you can capture a different sound to the amp...

This makes sense in my head, but it may not be clear in my typing efforts!..but just remember.. micing up amps is musical and creative.. do not apply science!.

A

This helped me a lot http://www.ultimatemetal.com/f…-position-mic-2013-a.html