The college got a new Marshall 4×12 cab so I though I make a post making a comparison between 5 different types Microphones. There are 4 on axis close to the centre of the cones and then one further back more central. I was going to re-amp anyway because I needed to get some new Guit tones for a few projects but all I got initally was obstacles unfortunately. My thinking was to use an interface with PT on my Macbook to play the clean DI tracks into the Amp and then record them using PT in the control room. This would mean that I’d have to bounce those tracks afterwards and then import them back into the sessions on my Macbook but it would negate noise. I made the mistake of not bringing my own interface that I know works and the Mbox’s would not work despite installing the drivers and restarting over and over. Studio 1 uses PT 9 so I needed to create copy’s of the Sessions in the PTF format instead of PTX so they would open on PT 9. Then ship them over to the Studio mac, send the DI signal out of the Interface and patch it to one of the Jack returns on the Patchbay back into the studio. So out of PT output 9 from the 96I/O, convert from bantam to 1/4″ jack, into E to the wall box and from there into the Amp. All we got was noise and hardly any signal so we patched from the same output from the 96I/O the the Auxiliary 1 output from the desk and then to E. With it turned up on the channel pre-fade plus the Aux master turned up there was still a lot of noise. The third and final option was to go from the 96I/O to the headphone amplifier Auxiliary input which worked a lot better but there was still a lot of hiss on the track so the outcome was not used on any project but instead this post to show a point.

I used a Shure SM57, Cad M179, Samson C02, AKG D112 all on axis and close to the speakers then a Behringer ECM8000 further back and central to the cab.Untitled

The above are all Cardioid (M179 is alterable but i left it Cardi to match the other close Mic’s) except the ECM8000 which is Omni. The reason why I moved it back was to capture more of the sound in the room. I wore headphones even not plugged in when i was entering and leaving the room to act as ear protection because I turned it up loud. Not how the excess of the Cables is nicely coiled in an eternal loop beneath the stands to you are able to move them easily, it looks neat and you’re not tripping over the excess.

The SM57 is a smaller diaphragm Dynamic Microphone, the D112 is a large diaphragm Dynamic microphone, the C02 is a small diaphragm Condenser and the M179 is a large Diaphragm condenser. The ECM8000 is a very small diaphragm condenser but it hs a very long narrow neck to avoid the sound bouncing off the microphone and into the capsule shaping the sound. This is to give an accurate (flat) representation of the input signal. These Microphones are used for analysis but I used one on a Guitar cab for a Guitar solo and it sounded awesome!

Here you is a track for you to compare the sound of each microphone. SM57>D112>C02>M179>ECM8000 and excuse the hissing.

The song is Angelie by Drew Allen so Beautiful playing! The D112 you can hear immediately has much more low end due to its larger diaphragm than the 57, the C02 and M179 are much brighter then the 57 and D112, the Dynamics sound more high mid rangey than the Condensers which have much more sparkly high end. Its understandable why a 57 would be more desirable for a Guitar Cab in a recording which has a Drummer smashing Cymbals as the increased High end of the Condensers would be treading on the toes of the sparkling Cymbals. The D112 works well for Metal Guitars as the rumbling low end is what Metal Guitarists crave. But for this re-amp as the track consists of Guitar and Vocals Id probably use the C02 as the Low end rumbled a bit too much with the M179.

The ECM8000 captured a lot more of the room and less of the hiss so a nice tone but i think if there were 2 of them pointing towards different parts of the room then panned left and right it would create an awesome stereo effect to sit on top of one of the close Mic’s. That’s something I wouldn’t use in a rock recording with multiple layers of Guitars but again for a track that’s just Guitar and Vox i think it would add so much more interest into the use of stereofield. With the shape of the Studio 1 live room and the amp near the center of the room if you walk around you can hear the sound being shaped differently so you could really accentuate some stereorield using 2 of these babys and keeping something close like a 57 for reference. If you distant Mic a Guit it just gets lost in the room so its better to keep something close also.