3 Clean Guitar Amp Micing Techniques - Warren Huart: Produce Like A Pro

[@Producelikeapro]

Do you have anymore questions about recording below? Ask me know below!

[@gilbertspader7974]

I'm switching from tape to computer recording and I want to take a hammer to the computer then run it over with a steamroller then drop it from an exeadingly high place.

[@terminalbliss]

What kind of guitar are you playing? Semi hollow body but in a smaller strat style format? Are those p90s or humbuckers? Thanks for the mic technique illustration.

[@bobbykanemusictube]

Do you have any tech tips of tricks for using multiple mics on vocals? Something like using multiple mics on a single vocal take? How would you go about it?

[@darlenesheffield9835]

Great video Warren!

[@Eventual420]

Please demonstrate the advantage of an 1176 with recorded guitars.

[@TheFeelButton]

You want cheap and easy with a great bottom end?!? 😃😂🤣😂 The SM57s front and back seems like a winner to me!

[@Producelikeapro]

Yes, indeed my friend! It is a favourite of mine indeed!

[@mjrausch]

I’m a litttleeee late to this one (understatement) BUT… I’ve had great clean tones with a 57 in front and a Sennheiser 421 in the back! Nice mid and low mid to fill in the sound on the back. Of course, throw the 421 out of phase and bam!

[@oldbluzguy]

Love the "how to" videos and gear reviews. Thanks Warren!

[@Producelikeapro]

Thanks ever so much Bobby!!

[@jasabasenara8124]

Your such a natural on camera Warren. Really appreciate you giving your time to do these vids. Many thanks.

[@Producelikeapro]

Hi Ricky sa-vell you’re very kind my friend! I really appreciate it

[@Nikkie_jurnigan]

@@Producelikeapro i m use this for My Guitar Recording

[@GiovanniMascheroni]

I use just one SM57. Not in the center, but a bit on the side. The position will depend on how much clarity I want. Frankly, till now I've never felt the necessity to add other mics in the process.

[@Producelikeapro]

Hi Giovanni Mascheroni I often just use the single 57 like the first example!

[@chrishopkins209]

Warren - I used to own a Nobels tremelo in the early 2000s. My favourite tremelo sound ever

[@nobelsofficial5766]

Cool! Kind regards from the Nobels team

[@Producelikeapro]

Chris Hopkins fantastic! I love my Nobels pedals!!

[@Producelikeapro]

Nobels Official hello! I hope you’re all doing marvellously well!

[@jerrymckenzie6205]

I really liked the SM57 front and rear setup. Really sounded great! Also congrats on the PRS S2 Vela Semi-Hollow - I just bought one of those myself!

[@Producelikeapro]

Thanks Jerry! It's an amazing guitar indeed!! Great purchase my friend!!

[@erick1913]

Good call on the r10! I love it with an sm57 for clean and slightly overdriven guitars

[@Producelikeapro]

Love the Royer R10 as well!! Great mic!!

[@vminator]

I love finding these older videos that are still super useful. Bookmarked!

[@MarkMcPeak5895]

Thanks! As I said before, there are those that do, and those that teach, but the rarest of them all are those who can both do and teach as you!

[@TobyEllis]

Yep. That is exactly how I do it too. I use the front / back method for open back amps, sticking the back mic between two twelves if it has them. And use the double front mics (57 and R10!) on closed cabs. That amp sounds amazing mic'd front and back!

[@EV0L13]

Another awesome video Warren! You are providing a great service to the "production/recording" community. So many great tips and learning opportunities in every video.

[@jimmiefarmer3022]

I actually bought a Royer R10 based on your review of the product! I record all my electric guitars now with the Royer R10 and SM57 combo. The only minor difference from what you demonstrated here is that I have both the Royer and 57 facing straight on. That way, the 57 is pointed at where the cone and speaker material meet. I play (and record) clean guitars most of the time, and my Telecaster through any of my amps miced up this way sounds SO much fuller now. It's awesome!

[@albertosmargiasso9585]

I'm in an experimentation period with various ribbon mics and I love the character, ribbons will absolutely be my go to for the VoxAC15+Telecaster combo. However, last year I bought a seehnheiser e609 and I couldn't be happier for a live jazz tone (Roland JC-40+Epiphone Emperor II)

[@MilanChamling]

Hi. I have problem when I point the mic to the amp, it makes a hissing sound. When I move the mic away from the amp the hissing stops. Any advice? please help.

[@gbaxter6465]

Another great video. Thanks Warren. For "primary" guitars in songs I use a SM57 and a Cascade Fathead Ribbon mic with great results. For secondary guitars that are more ear candy (little triplet lines, baritone drones or tremolo kind of effect) I use either a SM57 or the Fathead depending on the sound we're looking for. As this video demonstrates, the ribbon has a nice way of settling down the top end and it helps the guitar take less attention and sometimes that's exactly what's needed.

[@JoePerkinsMusic]

The sE RNR1 is my go-to for guitars - an active ribbon (with Neve transformer!) so you get the fatness but it responds up to 20kHz too. Would generally use a condenser for super-clean tones - but then again, I love bright & detailed guitar sounds. :-)

[@michaeltablet8577]

Would really love to hear you play more often. Really enjoy it. Thanks again. I know many may think some of the videos like this are basic, but to those of us who are just getting started this is golden.

[@WhaleBluePRS]

Either PRS or BMG Red Special guitars - Roland JC77 or JC90 - (2) AKG P220 condensers about 8-12 inches from speakers, in stereo, about 12-16" apart left/right. Pretty much same for overdriven or clean tube sounds (PRS Custom 20 amp) but with one condenser. Recently got a Neumann TLM103 and quite like it on mono guitars but haven't explored it as much as the AKGs. REALLY happy with sounds I'm getting into Presonus Studio 18/24 mic pres and Studio One 4 DAW.

[@mdp303]

These tutorials are great. Just really good information from someone who can actually knows. Direct with no bullshit. Thanks for your advice. 👍

[@Producelikeapro]

mdp303 wow!! Thanks ever so much my friend! That really means a lot!!

[@ricardovilhena8454]

Great video Warren! I would like to see the same kind of video but for bass guitar with the best mic and techniques. Best regards from Portugal

[@MrGuitarist9891]

Such a great video! Warren you have one of the best channels on KZbin.

[@Producelikeapro]

Thanks ever so much my friend!! You Rock!!

[@paulstefanowicz4236]

I recently had some great fun recording our guitarist for some "live" recordings. We used two amps: a Marshall and a Fender. I used two 57s on each amp: one angled and one straight. We added an MS pair as room mics. There was some work to do with phase but it was worth it. I would definitely use this technique again and it provides an in-the-room experience upon playback. As an aside, I have had good results with a large diaphragm condenser, on its own, for a simpler approach. For cleaner sounds, normally, I like this method more than a solo 57.

[@randszzob8590]

Thanks for the video Warrren - nice start for beginners or those who've never read a techniques article. Some quick thoughts... Regarding the choice of mic: Sure (!), use a '57; it's a good mic but and old mic. It's not the only choice! If you don't want to sound like everybody else, try a variation. There are lots of great dynamic mics that will do the job really well and give a slightly different flavour. I've used, Blue, Heil, Sennheiser, Beyer... It takes seconds to put something else up and discover a great sound that's unique to you. Engineering is not about sounding like everybody else... About phase: I like to start with the front/rear mics in phase, and find a null point, before flipping the phase of one mic, and go from there. About triple-micing: I would usually not record a guitar like that without a third mic distant from the cab, doing phase checks as I go. The sense of 'air' or 'room' really helps in getting a great guitar sound. I like to do some phase checks with two font mics as well. It will help you discover which frequencies are actually reaching the mics. Don't forget to use your ears, or headphones, whilst you move the mics around to find the sound you're after. And lastly, where the amp is in the room is critical for the low frequencies! Happy recording everybody! P.S. That PRS is so out of tune! 5:10

[@9uidin9li9ht2]

How do you flip the polarity on a SM57?

[@chophii526]

Great video! Always enjoy your guitar mic’ing technique videos, great refreshers! 🙂

[@Producelikeapro]

Thanks ever so much Daniel!! You Rock!!

[@guillermodelnoche]

Warren "Bop till you Drop" Huart. Very nice lesson in tone shaping with mics!

[@Producelikeapro]

Hi Guillermo Del Noche Studios Thanks ever so much my friend!!

[@shestudiossheila7423]

I can't wait to try this : ).

[@Producelikeapro]

SHE STUDIOS [Sheila] wonderful!!

[@brxndonthorne]

Great video as always! Would have loved to see you discuss volume and gain levels for recording amps.

[@compucorder64]

Really useful thanks. I often don't like the sound of a solo SM57. So I've been using my 57 with a U67 inspired-ish type mic (JZ Vintage 67). But on these recordings 57 front and back does actually sound great. I think I may even have preferred the 57 front and back to the 57 & R-10 in front. Except with the drive pedal, which is where the ribbon brough in an extra smoothness, and made the recording sound like a much bigger amp running full kilter.

[@The_Absurdistt]

I have been a fan since the beggining... this type of vid is my fav. Thanks Warren.

[@Producelikeapro]

Hi Obsidian s thanks ever so much my friend!

[@lahattec]

Great stuff, Warren. What about a 57 front and back AND the Royer? :)

[@Producelikeapro]

Yes! Works great!!

[@joeschlicht]

Nice. I need to get a Noble. That sounds great. I love my Hotcake, though. I'm just a hobbyist (wannabe record producer😂) but I've just been experimenting for the last several days. I'm using a 57 on the front and a 421 on the back and a condenser about 16 inches from the front. Then repeat with another amp, except I'm using an m160 in place of the 57 (because I only have one 57). My signal is split to both amps, and then I have stereo x/y to capture some room but not too far away. Today, I was trying on, and various off axis positions for the close mics. And also bringing the condensers a little closer, 12 inches, then 6. I treated it like a science experiment and noted the mic positions for each take for my reference. My amps are a Tweed Deuxe clone and a hand wired vox ac15. I was recording clean, no fx. I think for clean, I prefer the on axis positions. The amps have that sparkle, especially the Vox, and I did like the condensers closer rather than further. Next, I'm going to try swapping the m160 for the Vox and the 57 for the Deluxe. I wish I thought about stomping on my overdrive for each of the takes. It's possible that an off axis position may suit the overdriven tone better... but my pedal board was not near my control room, so i just focused on clean. I also did play to a drum track loop, and as an afterthought, I laid down some bass so I can evaluate these contexts in a mix. Thanks for the video. I always pick up great little tips.

[@noiseinthebasement8139]

Thanks, Warren. Perfect demonstration.

[@Producelikeapro]

Thanks ever so much! That's very kind of you!

[@stephanieleclercq890]

Thanks Warren for this video.... The front and rear method sound really nice for me and I going to try it. A little question (maybe stupid) how do you pan the two mics in the mix ? The two mics on a side (or in the middle) or one on one side and the other on the other side ? I ask you this question because when I record my guitar, I do it with my DI direct on my table and I pan it on one side (the keys are on the other side).

[@Kevin-vq6rv]

Stephanie, the purpose of this technique is to combine the two mics to get a fat sound. Here is the trick: assuming that you recorded, as Warren mentioned, with the polarity reversed on the backside mic. Solo the two recorded tracks, pan in the middle and flip the polarity again of the backside mic. Bring up the mic of the front side and then slightly bring in the mic of the backside. At a certain position, you'll hear that the two mics want to cancel each other out. Find the fader position where you hear the thinnest sound you can get. Once you have that, flip the polarity of the backside mic again and... WHAM! Now you have the fattest sound you can get :-). Send the two tracks to a subgroup, treat them as one and go from there.

[@stephanieleclercq890]

Kevin Thanks for these explanations. I'm going to try that

[@jordanshreds747]

I know it's a bit unorthodox, but I really enjoy the SM 57 on front and then a 58 on the back for some low mid warmth. Is that way left field? I'd really like to learn about recording high registry instruments, Mandolin, Ukulele, ETC. Thanks as Always Warren! You always inspire!

[@orryfishburne5326]

Ive been struggling with capturing my Roland Jazz Chorus 40's clean tone for a while now, but since i just bought my first ribbon mic (SE Electronics X1 R) paired with a trusty SM57 ive been getting closer to the sound im trying to capture, but still not there yet. Im definitely going to try the technique of mic'ing behind the cabinet. Thanks for the lesson Warren!

[@darlenesheffield9835]

Great video Warren!

[@YvesChaput]

Hi Warren. A bit off subject but still relevant in the realm of recording guitars: for those on a budget and in a bedroom setup where sound level is a primary issue, recording an amp with mics is somewhat complicated (neighbours/spouse complaints). What are your thoughts on such amps as the Boss Katana series or Fender GT series? They are relatively cheap, you can dial in multitude of guitar sounds (and quite good sounds too), records directly thru USB or with cabinets emulation thru the phone/recording output and serve as a gigging amps (depending on models) That makes them somewhat more versatile than simply using plugins like Amplitube or Guitar Rig. For a home hobbyist like me, it's enough to play around with (I do have a Katana 50) But do you think someone with pro or semi pro ambitions could achieve pro worthy results with these?

[@BrettTalleyMusic]

If anything, you sold me on the Nobels! Pedal sounds fantastic.

[@slavesforging5361]

Great Video Warren. love those Jazz chops! I use one large diaphragm condensor, and one small diaphragm condensor. but i'm not going for a classic rock clean, i'm going for somewhere between an acoustic guitar and an american clean electric sound. think a fender or mesa clean channel. so i plug an electric guitar into an acoustic amp, then dual mic the amp. and i do a similar dual mice on the electric guitar itself, as well as a room mic on figure 8. (because that pattern sounds best in my room for whatever reason). This tends to give me exactly what i want. often i'll add in some tube amps dual mic'd as well (splitting the signal from the same guitar). but i'm a big fan of throwing stuff at the wall, and letting the mix engineer decide what they want to use. always a DI as well too.

[@laskholt]

Thanks!

[@dustinthiessen]

I'm more of a live guy, but my go-to for guitars is Telefunken M81, and a Heil PR30 on either side of the dust cap, on axis, panned hard LR

[@dvdpz89]

Are you familiar with cascade fathead? Would like to know your opinion on that mic.

[@mikesparks3398]

How would you mix this? 1 panned L 1 panned R? Or both L or both R? Or all of the above?

[@jeremywhisenhunt9118]

Great content today Sir Huart! I’ve never seen a tutorial quite like it-great detail, great topic and I will be experimenting more w this front/back mic technique. Sounds great and I’ve finally got the confidence to use this technique to get great guitar tones on record! Longtime subscriber and this is my favorite video in 3.5 years of watching! Of course love the studio tours and interviews too. High praise my friend.

[@BrentHarmon]

Sennheiser e609 and e906 are also good Guitar amp dynamic mics as well

[@HenritheHorse]

Just got the e906 and its great!

[@lukehart1642]

A very informative video Warren, thanks again! I just did a live recording using a Golden Age Mk3 ribbon and 57 on a Marshal Cab. I loved being able to blend the two together. Only unfortunate thing was the figure 8 on the ribbon picking up bleed. But it still worked. I've been using a pair of AKG 418's for snare mics as I have to keep mics inconspicuous for filming, but the sound is crisp, punchy and tight. I just dread the drummer hitting them... Thanks again for your hugely helpful videos. Cheers!

[@frankedge]

HeyWarren, thanx for sharing your skills with us again. I often use the "Fredman Technique" with two SM57's - one pointed to the the spot where the cone meets the paper and the other one at an angle of 45 degrees also pointed to the same spot. what do you think about this? Next I will try out your recommendation with the front and the open back micing. It seems to get more of an full and warm tone...

[@stevewilliamsonmusic]

I have been using an Audix D6 as a third microphone... picks up excellent low end when blended in underneath the 2 mics:) that’s a nice amp!

[@mikesparks3398]

Thanks Warren!

[@zoolfilms]

Hi Warren. Fantastic video as usual. I wanted to recommend the Analogman Prince of tone for an over drive pedal. As far as my ears go, there is no better clear natural over drive sound in a pedal. Sounds like your amp, just cranked! Thanks so much again!

[@gitsman45]

great video, thanks bro

[@skiddzie9291]

nice vela, beautiful guitars, wish they released a version with a normal vibrato system. I do a decent amount of chord gliding in my music (I sorta make shoegaze) but I just absolutely hate dealing with the restringing of a floyd, and having to unlock the nut every time it goes out of tune farther than the fine tuners can handle.

[@panacea-studios]

Thanks Warren that was awesome! I record guitar like the 121 idea but with a small condenser and a 57 I'll do a video when I get some time this week.

[@perangkvist5729]

9 times of 10 I record guitars with a Neumann TLM 102 or TLM 193 0,2-05 meters from the speaker. Sometimes I put the mic a little bit higher up to get a more natural sound. Sometimes I add room mics. Heavier guitars I might end up with an SM 57 close.

[@stupendousmusic4190]

Good video Warren, but I think you could have added a few minutes here. Jimmy Page was known for placing a mic behind the amp, and at a distance too. I would have like to have heard the the back SM57 by itself, both flipped and un-flipped polarity. What about both SM57s flipped and un-flipped? Might have been interesting to compare. Personally, I can't stand the SM57. Yes, I know, SACRILEGE !!! I love ribbon mics! I'll take an M 160, or the front of a KSM313, (or any decent ribbon) and find where it sounds "best." Not as close as a dynamic, but definitely closer as apposed to farther; then, I'll distance mic an LDC where it sounds "best;" and play listen with different patterns depending on the mic. I got a really good tip from Glyn Johns: When close micing a small(er) amp, use an M 160 and an SM57, (or dynamic ribbon combo of your choice), close together. Try it with an M 201 TG instead of the SM57.

[@nestudiopoesianecesaria5304]

Thanks, my master! Greetings from Spain!

[@Producelikeapro]

Thanks ever so much!!

[@jackleyton5504]

That PRS looks really comfortable to play. Great clean and dirty tones. I was surprised just how good the 57 back and front sounded. Now that I have an open back cab, I am defiently going to try that. Im curious if you have ever used a ke, umm, a kem, errm um, i mean a Ke Kem, Kemper Profiler? LOL. I confess that Ive been using one quite a bit and its darn impressive. There, Ive said it. Feels good to get that off my chest. Great show as always Warren. Thanks

[@Beatledave7]

You're such a great guitar player Warren, what is your usual choice of plectrum/string gauge?

[@Producelikeapro]

Beatledave7 thanks ever so much! I like Fender’s grey equivalent to the Jim Dunlop .60mm it has more grip! Strings I’m experimenting! Lately it’s been the Sonotones! 10-46 or 10-52

[@Beatledave7]

Produce Like A Pro that’s awesome thanks Warren! I always think a player’s string gauge & plectrum type brings much more to the table than their choice of amp/pedals/guitar. It’s where the rubber hits the road... or in this case the pick hits the string! 😁 Hey give Ernie Ball Regular Skinky’s (10-46) a go! More power to you if you can manage a Fender Medium celluloid! 👍

[@sistermantos4098]

thanks so much Warren! truly learned a lot from this! used a lot of ur tips on our latest album. bless you and the work you do!

[@drewstephenson]

I've got some good results using a ribbon at the dustcap and an LDC alongside it.

[@Producelikeapro]

Hi drew stephenson Fantastic! Thanks for sharing!

[@drewstephenson]

@@Producelikeapro Obviously taking care to align for phase ;-)

[@jonnyXrice]

I can't believe no one did this!! 4:28 SM57 center speaker cone. 8:18 Two SM57 front and back 9:54 Comparison with Distortion 12:24 Ribbon 12:54 Ribbon + Dynamic Mic 13:08 distortion

[@Kevin-vq6rv]

Don't you use your Carl Martin pedals anymore? I didn't know that the grill of ribbon mics affect the brightness. Thanks.

[@joeribraams]

Damn your jazz licks surprised me! Very informative video.

[@Producelikeapro]

You're very kind my friend!

[@highpeakrecordings]

Great video Warren. What about a combination of all three? SM57 back and front and a ribbon on the cone. Or are we into a whole world of phase/polarity issues there?

[@obedanturi9820]

Good Tip Mr. W.H

[@Producelikeapro]

Thanks ever so much my friend!!

[@markbeeson5674]

Thanks Warren. Informative as always. I'm going to use that front and back technique next session.

[@jawsxx8683]

I like using my R-10 for this. It seems to record the string picking details a little more, but not without a 57. What does your signal chain look like?

[@loudtim265]

Yesssss! I’m recording a twangy Fender Twin with a touch of dirt from a BB preamp. I can get it to sound good but not great. . 🤷🏼‍♂️. Thanks for the timely tips!

[@loudtim265]

My mic locker is extremely limited but I mainly use a 57 (occasionally an AKG D40 which is lovely). Usually at the edge of the dust cap, sometimes at the mid-point between dust cap and surround and tilted a bit off-axis. I may try my Baby Bottle in the back what I’m getting is definitely missing some of the warmth of the amp in the room. Maybe I’ll obtain a ribbon mic someday 👍🏻.

[@stephenzeagman9985]

Hi Warren, great video.. quick question if you have time. When micing front and back are you going into two mono channels for the guitars and then blending volume to taste? Thank you

[@danielpicard3994]

Very informative video. I will definitely try the front/back technique with my Deluxe Reverb amp soon. Thanks Warren!

[@good4sound]

This was fantastic! Great insight as always. Even on my iPhone I could hear the noticeable differences. Thank you, Warren.

[@ragingchimera8021]

When not recording DI with guitar rig (what I mainly use for demos) I use an SM57, and occasionally an SM57 paired with a cheap Apex 205 ribbon mic I have... sort of a poor man's Royer/57 setup.

[@DanielClaytonFarnsworth]

Carl Tatz chair! Nice we got those at the studio i'm at!

[@SteveSchuffert]

Still love my Avantone ribbon mic thru a Universal Audio 610 mic pre. Just sounds perfect all the time. Recommend trying that mic.

[@luukmeijssen2515]

Great video. Is it worth to mention that any ribbon mic ALWAYS has a figure-of-8 polar pattern?

[@Producelikeapro]

Thanks a lot! Yes, almost all are only future of 8, there are a few, most famously the Beyer M160 which are not, it is Hypercardioid!

[@lahattec]

Regarding the front and back mic, I would think the phase would be even better if you put the mics parallel to the direction that the cone moves, i.e., straight in and out. With the mics at an angle to that the movement, the cone will be moving slightly sideways with respect to the mic front. On the other hand, maybe the shape of the cone is directing air perpendicular to the cone angle, in which case the angled mic (in front at least) would be fine. Would be interesting to test the difference. Or maybe the difference in angled vs straight would be so minute as to be negligible?

[@thomasbinnie4003]

Hello, great vids. What are your thoughts on amps with DI outputs? - are they not really used because a lot of amps don't have them or is there a certain 'je ne sais quoi' from mic-ing with a nice mic?

[@Producelikeapro]

It depends on what the DI is for? If it’s simply to split the input source that’s great for certain applications, however unless it has some kind of IR on it it’s still going to need some work to be useable

[@marktlog]

I was surprised at how good the two sm57's sounded. I guess 'musical' is the tone I'm looking for. Impossible to scientifically define, you just know it when you hear it. The two sm57s did sound just as musical as the ribbon/sm57 to my ears. When I've been testing this all myself, when you switch from two mics to one, it's like you've gone from 3d to 2d. It won't make as much difference in an overall mix with other instruments, but if you are going to hear one guitar on its one during a song, it needs to sound as musical as possible.

[@Producelikeapro]

Yes, the good old SM57 takes some beating!

[@theoversouls]

Another great show -thanks Warren!

[@Producelikeapro]

Thanks ever so much!!

[@MarioSanchez-ly6vy]

Great video very informational, did I miss at what volume should you be mic'ing these amps?

[@Producelikeapro]

Thanks ever so much Mario! I always set my volume based on the sound! Loud and clean worked well here, however it wasn't unbelievably loud!

[@MarioSanchez-ly6vy]

@@Producelikeapro thank you!!

[@Producelikeapro]

Mario Sanchez you’re very welcome!

[@MartinLuxen]

Thank you Warren. Great vid, and I'll say it again, what a lovely guitar!

[@Producelikeapro]

Thanks ever so much Martin! Agreed, amazing guitar!

[@ashleydines144]

I liked the back micing until I heard the ribbon. Much more defined lows. Obviously they both have their place but thanks for the help x

[@RafaTallicaBR]

Thanks for opening my mind about 2 mics instance... Certainly I'll try to do the same approach from the ribbon with a bass drum dynamic mic

[@blakecurtis7809]

Great video. Maybe you can do a dedicated snare drum video sometime. And show some techniques on minimizing bleed in the snare mic's. Cheers Warren!

[@jzu-k4v]

I would love to see a video getting good results on "plugging directly into the console" guitar tones. I've heard rumors that Cocteau Twins and other 80's shoegazey bands would do this for super clean tones but never got good results myself.

[@gerrydaly5409]

Hi Warren, I own both an SM57 and a SM7B, and I am just wondering for this trick to work properly, if you need to use the exact same microphones back and front?

[@Producelikeapro]

Marvellous question! I've been able to make that work very well with both of those mics!

[@gerrydaly5409]

@@Producelikeapro Fantastic, thanks for the information Warren!

[@Producelikeapro]

Gerry Daly you’re very welcome!!

[@yanthoweepinghorn6732]

thanks for another awesome video :)

[@kearonandrewobrien7460]

I get a little help from my friends 🤗 thanks for the information on recording dynamics.very nice sound and you play Guitar great

[@Producelikeapro]

Hi Kearon O'Brien aw shucks thanks ever so much my friend! I so glad to be able to help! I appreciate your support my friend!

[@splashesin8]

Thank you Warren. 🙂

[@paulEmotionalaudio]

Not sure if there’s a name for it but I used to use a couple of 57’s, one directly pointing at the centre of the cone and the other pointing into the rim in a sort of v shape...... man I miss recording...

[@soejrd24978]

I always feel like Mic'd Guitar Amps lose so much dynamics. In my room I can hear the sound going from almost quiet to really loud in my strumming. Is there a way around this, should I use a ribbon room mic?

[@EricGPLAP]

Learned some new miking options with this!! Now I need a Ribbon! haha

[@nicopineapples3238]

Am I wrong in thinking that the phase shouldn't really matter if you align the first of both mics perfectly after recording? That seems logical to me and should be more accurate than switching the phase. Or am I forgetting something here?

[@789utopian]

I just bought Waves GTR, some nice guitar sounds and seems to sound good going direct without an amp, but would you recommend going through an amp clean, with those micing techniques and then use plug ins?

[@Lettsbet]

Do you take the two blended tracks and then bounce duplicate and Pan them to Left and Right?

[@chrishopkins209]

Fluff needs to watch this

[@jeffslonelygear7414]

Hot damn that guitar is beautiful. If it had binding and the bird inlays tho... OOOWEEEEEE thatd be FIRE

[@Producelikeapro]

Yes, agreed! Truly amazing guitar indeed!!

[@chinmeysway]

what about how loud the amp is? clean guitar seems actually pretty tricky not to get a bit of crunch... mayb its my pickups but trying to avoid distortion in certain occasions...!

[@pepemonnerat4488]

Great content! Eddie Kramer uses 1 u 67 hard pan l + 160/57/421R He also uses light to find the sweet spot;) When talking about John Lennon you should talk about the hidden secret piece of gear that Roy Cicala used to use. Tip: JJP and Andrew S. Used to have this piece of gear;) Let me know if you want to know more! Best