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Post by Johnkenn on Jan 20, 2014 20:53:27 GMT -6
 The gear waffler strikes again... Now - to justify it. I record my own tracks sometimes hear at home...I found myself using the same 4 or 5 amps on the Kemper over and over. And here lately, I felt like I really got it dialed in to where I was very, very satisfied with the tones. Then I played this AC15 with Greenbacks. Game over. Just brought it home. $575 vs. selling the Kemper for $1600...Truthfully, there will be things I'll miss about the Kemper...but that feel of having an amp in the room, the thump of the chest, the breakup and touch...it's inspiring. I think THAT'S what I've kind of missed. And it's cream... static.musiciansfriend.com/derivates/18/999/274/101/DV016_Jpg_Large_1372088761776_A.jpg |
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Post by popmann on Jan 20, 2014 20:58:25 GMT -6
Pimp. Did you bring a 58 or Sm7 along to record it? I noticed an odd omission in your mic locker...no dynamics. I didn't know it was possible to be a musician who isn't a spring chicken (I'm not either) and not have SOME dynamics around from this or that...I mean...I had a 57 and 421 as a guitarist at 16. Still have that very 421--broken clip and all!!
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Post by Ward on Jan 20, 2014 20:58:43 GMT -6
Have you sold the Kemper already?
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Post by watchtower on Jan 20, 2014 21:18:08 GMT -6
Looks very nice! Which Greenbacks are in that thing?
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Post by tonycamphd on Jan 20, 2014 22:07:53 GMT -6
Thank god lol!
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Post by Johnkenn on Jan 20, 2014 22:16:02 GMT -6
Pimp. Did you bring a 58 or Sm7 along to record it? I noticed an odd omission in your mic locker...no dynamics. I didn't know it was possible to be a musician who isn't a spring chicken (I'm not either) and not have SOME dynamics around from this or that...I mean...I had a 57 and 421 as a guitarist at 16. Still have that very 421--broken clip and all!! I haven't really had any reason to have one until now...but I'm gonna grab a 57...Also might try that POS MXL ribbon. |
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Post by Johnkenn on Jan 20, 2014 22:16:32 GMT -6
Have you sold the Kemper already? Nope - you buying? Ward |
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Post by Johnkenn on Jan 20, 2014 22:17:45 GMT -6
Sorry! I stand corrected...
G12M-65 Creamback
The Limited Edition Vox Cream Custom Series Amps features the G12M-65 Creamback speaker that has been revived by the Celestion Company, fulfilling the hopes of many guitarists.
My hopes have been fulfilled...
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Post by Ward on Jan 20, 2014 22:24:01 GMT -6
Pimp. Did you bring a 58 or Sm7 along to record it? I noticed an odd omission in your mic locker...no dynamics. I didn't know it was possible to be a musician who isn't a spring chicken (I'm not either) and not have SOME dynamics around from this or that...I mean...I had a 57 and 421 as a guitarist at 16. Still have that very 421--broken clip and all!! An excellent point. You need three microphones to record guitar amps (usually using 2 at a time) An SM57, a Senn 421 and a Royer 121. |
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Post by Ward on Jan 20, 2014 22:25:09 GMT -6
Have you sold the Kemper already? Nope - you buying? WardI'm tempted. Very tempted. |
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Post by LesC on Jan 20, 2014 22:57:57 GMT -6
An excellent point. You need three microphones to record guitar amps (usually using 2 at a time) An SM57, a Senn 421 and a Royer 121. Ward, I'm getting worried, I'm starting to agree with you about some things. I hope you don't mind me asking another question. I've got a 2x12 cab that I really love. It's a stereo unit that I got for giving guitar lessons, an amp head plugged into each side. But of course, it can be used mono, which is how I would like to try to record it. It's an over-sized Avatar G212 Signature cabinet with two different speakers, a Celestion Vintage 30 and a Celestion G12H30 70th Anniversary Special. If used in mono, how would you mic this cabinet up? A couple of mics for the whole cabinet, or a couple of mics for each speaker? And what would be the best mic placement? You can assume that 2 of each of the mics you mentioned are available. If you don't have time for one of your usual detailed posts, any rough ideas would be appreciated. |
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Post by LesC on Jan 20, 2014 22:58:57 GMT -6
John, I don't understand why it's an either/or? Can't you have a few amps that you like and use the Kemper for the sounds that aren't immediately available?
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Post by Johnkenn on Jan 20, 2014 23:09:33 GMT -6
Two words... Mo Ney And it's bank rolling my Sta-Level |
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Post by Johnkenn on Jan 20, 2014 23:12:44 GMT -6
Wonder how the Royer 101 sounds? $799
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Post by LesC on Jan 20, 2014 23:13:29 GMT -6
That sounds like as good a reason as any! I'll be curious as to what you'll be trading the Sta-Level for in the not too distant future.
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Post by Johnkenn on Jan 20, 2014 23:22:35 GMT -6
Abso-fucking-lutely-nothing...
unless I need money...
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Post by watchtower on Jan 20, 2014 23:51:43 GMT -6
Wonder how the Royer 101 sounds? $799 It's not nearly as good as the 121, IMHO |
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Post by popmann on Jan 21, 2014 0:13:00 GMT -6
Pimp. Did you bring a 58 or Sm7 along to record it? I noticed an odd omission in your mic locker...no dynamics. I didn't know it was possible to be a musician who isn't a spring chicken (I'm not either) and not have SOME dynamics around from this or that...I mean...I had a 57 and 421 as a guitarist at 16. Still have that very 421--broken clip and all!! An excellent point. You need three microphones to record guitar amps (usually using 2 at a time) An SM57, a Senn 421 and a Royer 121. I use one. Two if I want a roomy sound. I've mentioned this before, but placing a Royer on the grille is what makes one "need" a second mic, IME. Place it dead on center cone about 1.5' out...just sounds like the amp. For better or worse. That said, you also don't "need" a Royer. I own it because it allows me to not be engineering while I play....and Sm7 will get a perfectly solid tone--you just have to be more selective with placement. A Royer is a luxury item. For clean tones a 58 will be fine. A 421 is a specialty mic--for when you need a mid bump, ie--not for when you want it to sound like the amp does in the room. I keep it for that reason. It can be better if it's a solo/lead guitar that needs to big 2k bump. In fact, I'd go far as to say for leads, dynamics do better than the Royer....unless you ALSO have an analog EQ handy. Which, I do. |
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Post by joey808 on Jan 21, 2014 1:23:59 GMT -6
John..did you keep the 176?
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Post by levon on Jan 21, 2014 3:18:43 GMT -6
An excellent point. You need three microphones to record guitar amps (usually using 2 at a time) An SM57, a Senn 421 and a Royer 121. I use one. Two if I want a roomy sound. I've mentioned this before, but placing a Royer on the grille is what makes one "need" a second mic, IME. Place it dead on center cone about 1.5' out...just sounds like the amp. For better or worse. That said, you also don't "need" a Royer. I own it because it allows me to not be engineering while I play....and Sm7 will get a perfectly solid tone--you just have to be more selective with placement. A Royer is a luxury item. For clean tones a 58 will be fine. A 421 is a specialty mic--for when you need a mid bump, ie--not for when you want it to sound like the amp does in the room. I keep it for that reason. It can be better if it's a solo/lead guitar that needs to big 2k bump. In fact, I'd go far as to say for leads, dynamics do better than the Royer....unless you ALSO have an analog EQ handy. Which, I do. Interesting. When you say "1.5' out", is that inches? So that would be around 4 centimeters, right? I have mine right on the grille. I sometimes miss that mid-bump in guitar recording with my 57/121 combination, looks like I do need a 421 after all, hmm... That said, I have the SSL E-series EQ, the BAE 1028 EQ and the Retro Pultec-type EQ, maybe I should try those for the mid-bump. |
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Post by levon on Jan 21, 2014 3:21:46 GMT -6
Abso-fucking-lutely-nothing... unless I need money... DON'T. |
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Post by cowboycoalminer on Jan 21, 2014 3:24:32 GMT -6
Maybe we should take this to another thread but I agree with Pop. I find that the 57 is one of the only mics that sounds right if it's kissing the grill cloth. Condensers and ribbons need some room to breath IMO. I like miking a bit further out but if using two mics, it seems a lot harder to get them phase aligned the farther out. I usually resort to zooming in on wave forms and moving them based on the waves which is a grinding time consuming pain in the ass. Especially for the "one man studio dance" that most of us do these days.
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Post by Johnkenn on Jan 21, 2014 7:36:34 GMT -6
This is the one thing I didn't really want to get into when buying an amp and trying to mic it. I really want to have one mic that just works...So, am I gonna have to spring for a 121? That AEA N22 sure looks interesting to me too...
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Post by matt on Jan 21, 2014 7:51:02 GMT -6
The 121 certainly has that whole "new classic" buzz about it (even though it's not that new) but I don't think it's a must-have. Doesn't stop me from wanting one though. Meanwhile I make do with a TLM102 stationed about mid-way between the dome and edge, against the cloth. I try not to move anything so takes remain consistent from day-to-day.
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Post by matt on Jan 21, 2014 7:57:26 GMT -6
it seems a lot harder to get them phase aligned the farther out. I usually resort to zooming in on wave forms and moving them based on the waves which is a grinding time consuming pain in the ass. Cowboy, have you seen this: Waves InPhaseI watched a YT vid describing it, and bought immediately. It's on sale right now too. I'm weak like that when things are on sale. |
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The gear waffler strikes again...
