That Pedal Show - How To Mic Your Guitar Amp: Mic Types, Positions & All That Stuff

[@joshuadawes6054]

Anyone else re-watching this to be re-educated whilst attempting some home recording during lockdown..? Stay safe everyone.

[@marianofernandez3600]

here too mate

[@jamesemerson4102]

yep and depressed that the ribbon mics are 10000000000x more expensive than the other mics : (

[@peterfusco4832]

Yup

[@thelimper5313]

I can only watch 2/3 of your videos before you are drowned out by the noise of my guitar.

[@rkharper]

happens to me all.the.time!!! but not today, it was way too interesting to skip!

[@ThatPedalShow]

+Kane Dypka Excellent! We'd call that a win-win!

[@jesseyasaitis9036]

I'm guilty of that too. Also, as far as ocd goes, I wont freak out as long as you sit on the same side.

[@ccollas13]

+1

[@abelramirez7320]

TRUE. This also happens to me when I'm watching movies or TV.

[@johnballantyne3458]

"Axis: Bold as Miking" is my favourite album by Jimi Impedance.

[@ekdguitar123]

Isn't that the one where he does the impy dance at Woodstock?

[@jamescourt2842]

I watch that at ohm all time…

[@scottwillott1]

I am having a few beers in the land of Oz & That Pedal Show just showed up in my subscriptions.....I am very happy to be alive

[@19markz67]

scottwillott1 Having a drink in California and feeling the same. Cheers.

[@Roman_andtheprey]

scottwillott1 it's a great beer night binge watch. Welcome friend!

[@jetsetbetties]

I think what you two are doing is really changing the standard for how videos on guitar sound are done. Even as goofy as it is, this video is so thorough, using video and sound to show us what is going on, with careful explanation at each step. These videos will stand as the go-to's for how-to's for years to come! Well done, gentlemen.

[@ThatPedalShow]

+Matthew Turner ah, cheers Matt :)

[@williamklimek9676]

Dan and Mick, it is very important that no one EVER hook up a PASSIVE ribbon mic to phantom power, as that will destroy the ribbon element. If one is using an ACTIVE ribbon, it requires phantom power, but none should ever confuse these two, and always know that if phantom power is switched on a mixer or a channel from a preamp, NEVER plug in a PASSIVE ribbon mic to that device or channel. A cloud lifter is often used to boost signal from a dynamic mic, say a Shure SM7 b or a passive ribbon mice, and it may require phantom power to activate the lifter, but it will not pass the 48v phantom power to the mic. Please pass the warning along, thanks.

[@connorjgodfrey]

This is possibly the best demonstration for anyone wanting to learn about mic placement I have ever seen and I spent three years doing audio engineering at university. I spent £9000 a year and That Pedal Show are doing it better!

[@ThatPedalShow]

+Connor Godfrey Wow, thanks Connor!

[@EdPettersen]

A general note for all: When using more than one mic remember to check your phase relationships gang. Especially with distance micing. (You could really hear it in this wonderful video when the dynamic and condenser were compared and summed during the distance and room micing sections) Cheers!

[@ThatPedalShow]

+Ed Pettersen Good shout Ed. We mention phase at the end. Obviously critically important to understand. Not just to make sure it's always in, but to know when it sounds cool out! Thanks for watching!

[@EdPettersen]

Absolutely! And one of the first things I learned as an engineer that could be helpful as well to those digging deeper (I know Dan knows this): Polarity is an electromagnetic concept. Phase is a relationship between waves. Rock on!!

[@dustinthiessen]

YES! I'm ever so glad you mentioned phase at the end. throughout the video on the double mic'd bits I had this uneasy feeling inside that people were learning double mic'ing without learning about phase coherency! i was indeed screaming at the screen WHAT ABOUT THE PHAAAAASE!!!

[@ThatPedalShow]

+Ed Pettersen Mick knows this too.

[@EdPettersen]

Of course! I should have known!! g>

[@benmurray1019]

Awesome stuff, good to see a visual and aural representation of how the positioning affects the tone, i think its even more crucial for a gainy sound. Really helpful for those of us who don't have a studio setting to test these things. BTW the soundman placing a mic on the amp head has happened to me, however a funnier one is one of my fellow guitar players was experiencing 60 cycle hum from his rig, then i watched the sound man get down to his pedalboard with his ear flush to the pedals to see which one was humming, speechless

[@wlawnsldj]

It’s been two years but this is gold. Especially now I’m obsessed with mics and using multiple with my amp.

[@wajobu]

e906 is the most neutral, it's why I use it. I tried a bunch. Condensor/Capacitor mic is surprisingly bright. Ribbon seems a bit muddy to my ears.

[@ChrisDN]

I felt exactly the same. Did you compare the e906 to an SM57? Opinions?

[@ThatPedalShow]

+Chris Norris They all require different placement. The ribbon on the centre of the speaker is pretty bright.... 906 and 57 are similar. 906 perhaps has a little more fidelity for want of a better word and always seems more forgiving to me. And it's flat. (Mick here).

[@ChrisDN]

True enough! It was great to hear their relative tonal differences all the same. You were probably able to get HUGE variety of combinations when you were mixing it, which is kind of the point anyway.

[@ThatPedalShow]

+Chris Norris Yeah bang on. Head spinning isn't it?! All those demos online - where are they putting the mic?!?!?

[@MrSadriabi]

Your show seems to get the best tones for all of the amps, pedals you are reviewing. I always wondered how you are miking the amps. The room sound mic seems to be one of the secrets.

[@AlexChurchMusic]

I think it would be great to see a video of your ideal rigs. For example, everything from your favorite guitars to your favorite pedals to your favorite amp configuration to create your favorite tones!

[@NathanNagel]

Alex Church hope you’re still watching because this just happened.

[@natecol9322]

I've always had trouble getting a good dirt sound from a condenser/capacitor, but it's fantastic for cleans. Ended up settling on a sm57 for dirty and a condenser/capacitor (or both) for cleans! And thanks for the awesome post editing!

[@patrickfitzgerald2861]

+ Nate Col - Shure sure got the SM 57 and 58 right the first time around. All these years later and they're still in use world-wide. Basically the Strat and Les Paul of microphones.

[@Ibanezman03]

Really depends on the mic. I use a Neumann KM140 for most everything /sometimes with a Sennheiser MD441/ and it makes the guitars sit with bass and vocals instantly.

[@natecol9322]

Ibanezman03 100%!!! I'm sure a better quality mic would help, but I'm speaking mainly from a budget friendly point of view. Condensers around the same price point as an sm57 just don't cut it for higher gain sounds IMO.

[@Ibanezman03]

Jup, definitely. Investing in 1 or 2 Neumann- pencil condensers is definitely worth it. You can use them for most everything and they are durable like a sm57.

[@TheDogPa]

I love the SM27. Great for just about everything and takes high SPL. I used to have a pair and used them for everything. Great close and far on guitar.

[@JensenDKMG85]

I think I've learned more watching this show than I have in the last 10 years. It's not always about technique or ability in your playing ( though I still need major help here, but that's on me to practice). Thank you guys so much for all the info and making it digestible, and direct and fun!

[@konstapelwalander]

No that's a linear law. I think you are meaning the inverse square law (applies to photography as well) which states that if the mic distance is doubled, the sound intensity is (1/2)^2= 1/4, only one quarter of the original mic position's intensity. Thanks for a very wholesome video! Cheers

[@konnektlive]

Thanks guys! At last! I asked you for this couple of times and finally! I'm gonna enjoy it for sure. Cheers!

[@larrimos]

Blown away. I had no idea about most of this. The differences in sound in relation to mic placement is profound.....wow.

[@colourofsounduk]

Important to note that standard Ribbons can be ruined if you put phantom power through them. That Sontronics and SE's Voodoo VR2 are unique in that they need phantom power. EDIT: I'd like to disagree and say that generally you don't get what you pay for with mics. Cheap mics are very good these days depending on the manufacturer. There's more of a difference between the *type* of mic then the *value* of the mic, in my opinion. Because recording is so modular (mics/preamp/plugins/mixing/mastering) you really have to think holistically; in my experience recording and engineering is cumulative and £1000 mic through a £100 preamp will be worse than a £500 mic and a £500 preamp, if that makes sense. It's all about compromise :)

[@ThatPedalShow]

+Chris Walker We'd agree in general, especially about the cumulative thing. However. I've been through a number of sets of pencil mics and ended up with KM184s. A load of large diaphragm condensers and ended up with 414XLs. Many vocal mics and always come back to Beta 58s and Sennheiser e935. So more expensive isn't always better, but they all save me a lot of post prod work for normal everyday stuff. Cheers!

[@colourofsounduk]

Yeah for sure; the more money you spend the less you have to work in post - but the more detail gets revealed in your recordings and the better you need to be at engineering in the room. Its an intricate balance. I think that's why I enjoy it!

[@colourofsounduk]

Other stuff to consider: Proximity Effect Off-Axis micing/considering how speaker 'beaming' effects your recorded sound How Ribbon mics can capture both the close and the room with one mic (figure of 8 pattern) Question: In the backing track parts the screen shows different mics in the mix, but you've only the Sennheiser on the amp. Did you re-amp in post?

[@fletches4084]

The guy who does my amp work swears by his old 1960/70s mics compared to the new stuff. Seems microphones are no different when it comes to vintage reverence.

[@RobFlaxMusic]

"They're just WARMER, man..."

[@BollocksUtwat]

Watching you two react to one another as you played over the backing tracks was a treat.

[@HenryBrutale]

This video let me understand two things: A) I have to put more attention on how I mic my amp during my gigs; B) Every review on KZbin is highly influenced by micing technics (so maybe crap is not crap..); Thank you guys! You're always great. I definitely have to buy a t-shirt.. :-)

[@ThatPedalShow]

+Daniele Rizzetto Incredible isn't it! The recording/post prod is (almost) everything. Thanks for watching!

[@tokoulli1]

Thanks guys. I am in the midst of a recording session in a very high profile studio in 6 months, and you solved my issue in how to mic my amp properly. I cannot thank you enough :D

[@ThatPedalShow]

+tokoulli1 our pleasure :)

[@alanhaynes418]

I've tried almost everything, and the one I keep coming back to is the Beyer M160 ribbon - not too close, and angle it from edge to centre of the cone to get more/less brightness. I've been using mine for 30 years now, and it's always given me a sound which is good to incredible.

[@abramtreadwell722]

The e906 sounds great. Best of all worlds IMO. Great with cleans and OD. I bought one a few months ago and I think it's fantastic.

[@jasonshrestha]

45:43 was a perfect demo to show how the positions work! thank you Mick and Dan! Has helped me learn a lot.

[@iranp8139]

Nice Sound!!!

[@Danocaster214]

Guys! What an awesome video. This really usable advice. I don't have access to the recording software and mics you guys have so this shows me what to look for when miking my little combo amp. I use an sm57 and I've never been happy with the low-end response. I might just upgrade to the e906 after hearing this. Thanks for what you do!

[@ThatPedalShow]

+Danocaster cheers D, so glad you dig our stuff :)

[@henrysoults3773]

Great video guys. I got an internship at a studio last year in an attempt to find out what to do with my life, (turns out I probably want to be an engineer) and this was very informative, encouraging, and fun to watch. Keep up the great work!

[@calebriley7466]

What I like most about both of you, and the reason I subscribed is your attitude towards life. I can see you guys are passionate about what you do and the joy, positivity, and enthusiasm can be seen in every video. Keep on rockin mate!

[@ThatPedalShow]

Thank you Caleb - the only reason we do this is because we love it. Thanks for watching!

[@Webgkil]

FINALLY we(I) get to hear your playing in a "band" context!!!!!Best part of the video!!!!

[@johnpatchymillar8367]

Dan, I've got to say mate, every time I watch the show I always get excited when you play. You've got so many cool licks that I keep trying to incorporate into my playing. Seriously love your playing man. Cheers for inspiring a young Queenslander! Much platonic love.

[@ThatPedalShow]

+John Patchy Millar ah, cheers John. That's what it's all about :) QUEENSLANDER!

[@plexibreath]

I use a Royer R-121 80% of the time, and an SM57 20% of the time. I find the R121 allows lots of track stacking for guitar orchestra effects, and the SM57 for a more in-your-face sounds for solos or melodic line overdubs.

[@derricksanders4548]

the humor guys puts this show over the top

[@swafranr]

Very useful video! Esp. the bit at the end that show all the lead/rythm placement/panning combinations. My takeaways: - It turns out my ears liked... a dynamic mic, right on the grill, just off axis. Surprise! But now I know *why* we all do it. - Even better, same but also blend in a condenser a little further away. - For a huge 70s rhythm sound: one close dynamic, one further condenser, each panned all the way L/R. - The room x/y overheads didn't do much for me personally. But I'm sure that depends on the room.

[@cyrusfontaine2598]

That ribbon is gutsy! I was just at a recording seminar with Mark Hornsby and Don Carr at Sweetwater here in the states specifically on this topic, and they recommended using a ribbon for the chunky low end, and a dynamic for the crisp top end. They used a Royer R121 and an SM57, and it was magic!

[@cyrusfontaine2598]

I'm liking the jams and backing tracks of late!

[@killat0r]

AWESOME episode guys!! I asked a question on a video a couple of days ago regarding what Mic's you use on the amps, and you release this episode today! Amazing! Love you guys, and the show!!

[@ThatPedalShow]

+Kyle Burdy Yeah baby!

[@Fksu]

Im fully on board with IR now... never thought i would but it definitely improved my live sound a lot. I had tried all, very happy pangeae owner now.

[@ThatPedalShow]

+Fabio Suenaga Incredible technology, and we'd say probably better than micing if you play heavier music with a really dense mix. For our kind of thing however - very traditional guitars and vintage style amps and music - you can't beat the sound of a mic on a proper amp. Thing is with a lot of modern heavy music, it's sooooo produced in terms of compression, EQ, quantising etc etc etc, I've been to a few recording sessions with modern bands and just been astounded at how much everything is manipulated. So traditional amps and mics are just a PITA in that situation. May as well do it all digitally from the top. For roots and more vintagey sounds, not so much. In my opinion (Mick here).

[@TNTales]

Every time I think I've got my sound down and have everything I need you guys do an episode and I'm like, "ooh, I need one of those!" Great show as always.

[@DevilMayAsian]

I remember watching Glenn's Mic episode and being blown away by the impact of micing. An excellent refresher with my band heading to the studio to record soon. Great episode!

[@KartikHariharan]

16:24 "Generally speaking... generally speaker-ing.." Haha! THat was amazing Mick! :D

[@noahVITP]

Man, I love this channel. The stuff I learned from you guys have been some of the most valuable info regarding guitars that I've ever come across. You made me realize I need proper power for my pedals (which was a huge deal for me) and you also inspired me to really get my pedal board to a better level. You guys have opened me up to so many new tonal possibilities. For example, I just bought a Mesa lone star special and got it in the mail yesterday, and Mick inspired me to do so! I know you have the LSC, but that's beside the point. I never would've bought a Mesa before, and I absolutely love this amp. I guess I just want to say thanks for being so awesome. Also, I love that you're pretty much the only channel that talks about Kingsley pedals. You need to pull a few strings and get Simon to send you one of his amps! I'm on the waitlist (2.5 years!!) but I'd love to see more of his stuff in your show.

[@ThatPedalShow]

+NTfilms Thank you for such a ringing endorsement. We're very glad to have you on board - enjoy that LS! :0)

[@johnbuxton2529]

Studio 1 at Abbey Road is the really big room - great for orchestras and choirs. The Sennheiser E906 DOES have a supercardioid pattern - supercardioid has a slightly tighter pattern ( heart shaped .. or squashed kidney if you like ) but also picks up from the rear of the mic in a very tight pattern. ) Excellent, REALLY excellent show !!

[@fletches4084]

Where they recorded "Shine On You Crazy Diamond". They stuck Gilmour's amps in there and moved the mic's to the back of the studio to get that sound of a huge space. Or so I believe....

[@e.g.systems6146]

Yep, VERY useful to actually HEAR the differences between different positions, different mics, etc. Thanks guys.

[@ThatPedalShow]

+E.G. Systems No worries. It was a fun one to do. (For me. Dan was a bit bored bless him. Repayment for the synth episode). :0)

[@e.g.systems6146]

Synth... :O) In the last 27 years, I've watched them come and go, but only recently seen the Fishman Triple Play (and I see the kinda Roland hex pickup still there) and though it actually seems to work, in the end I'd rather make a guitar sound crazy, and use that sound, that do Guitar to MIDI.

[@jdavis.fw303]

Yes I've finally found the mythical episode where a loop is used to A/B test something!!! Just kidding, love you guys!

[@joecoombsguitarist]

This has got to be one of the best videos on micing up a guitar amp ever, so helpful guys! Awesome work!

[@Zuhlsmann1]

I use a 609 too! Excellent video! It's amazing how much different just an inch off center to the cone makes!

[@johnbradford2892]

You guys should do more challenges! We love them! A most versatile board challenge would be cool. Least versatile with most pedals, most expensive, etc

[@traviswilliams1504]

YES YES YES YES!! Haven't even watched it yet but know it's going to be a great vid. Can't wait to watch when I get home. Thank you for covering such important topics.

[@ThatPedalShow]

+SupaTravis Williams Thanks for watching - hope you enjoy the show!

[@iwiggs6870]

Ohhhhhhhh it was the Room Mic! THAT'S what added all the sweetness, a bit of thickness and movement and loveliness to your show! That thing would've been solid gold for the Rotary episode... (PS: You guys ever considered doing an episode about the Boss DS1 and variants? You've done the Tubescreamers so the DS1 seems like a logical next step...)

[@really.not.important]

Could you guys do one on cab sims?

[@ThatPedalShow]

+The Nutman We're getting asked a lot about this. We need to build a studio first. Cab sims are more about post production in our opinion. Super interesting topic... but we'll need a bigger boat!

[@really.not.important]

Something like Neunaber Immerse and TwoNotes Torpedo CAB would be a good place to start for pedal form cab sims

[@TheDaithiBan]

That Pedal Show Maybe you could just rent a studio for the day...and save money on building your own! A cab simulator episode would be very helpful...along with an attenuator one!

[@ThatPedalShow]

+TheDaithiBan We could indeed. If somebody would like to organise it... ;0)

[@TheDaithiBan]

Wish I could help but Im in a different country! Hmmmm surely some kind samaritan could offer their services to you guys!

[@lance134679]

Good demo of miking techniques. The three microphones are "worlds apart" from each other. I've found that a 57 or the awesome e906 (my favourite) work for every electric guitar recording and live situation. They always help the guitar find its place in the mix.

[@ThatPedalShow]

+Lawrence Gillespie Absolutely. Presumably why they're so blimmin popular. Thanks for watching Lawrence!

[@lance134679]

They're so blumlein popular :-)

[@FURAPANZA]

on a side note, the drive sound with "more" you're using around 14:40 it's killer!

[@jakestewartmusic]

A very cool special effect microphone that is relatively affordable is the Placid Audio Copperphone. I have one and it's great for an old school, lo-fi sound. Green Day uses them live, I think. Be sure to check those out if you want to add a unique texture to your mic collection. I also recommend the Cascade Fathead ribbon mics for budget-oriented players. Works especially well blended with a 609 or SM57. For recording with only 1 mic, I personally really dig the sound of a ribbon mic spaced back from the amp a bit so that the opposite side of the figure 8 pattern picks up some room sound. Royer 121, Neumann U87 or Shure SM7B on the front with SM57 in the open back of my combo has been great in the studio. Can't go wrong with an SM57 or e609 live, the 609 is super convenient.

[@Shadoweclipse1386]

The e906 is my personal favorite, but I really like the addition of the XY room mic. it's like an analog dry-through on a reverb pedal: you've still got your attack, but with a little extra something. Great video guys!

[@40spinup]

Finally someone agrees with me with the capacitor/ condenser mix up.

[@jongauthier9289]

SM57 has pretty much been my go-to and haven't had any issues. Love 'em

[@ThatPedalShow]

+Jon Gauthier You and most of the rest of the world Jon. It's a classic for good reason!

[@jongauthier9289]

That Pedal Show Don't I know it! Keep up the good work, Fellas! Love your show.

[@blakelarson8373]

The blues backing track sounds strikingly like John Mayer's "I'm Gonna Find Another You". Love it!

[@ThatPedalShow]

+Blake Larson Same chords, yep. :0)

[@johnbuxton2529]

Still watching this but the wheely trolley mic stand is brilliant !!! So effective at demonstrating the difference in frequency range depending on mic placement.

[@83draconian]

Man!! Every single time that Dan plays that Tele in these videos is like "Damn, that Tele sounds GLORIOUS!!"

[@TraneFrancks]

Gotta say, I really like how balanced the e906 is. I'd be curious to A/B an e906 v e609 (at less money and guitar-centric). BTW, at 34:40 there seems to be a bit of an out-of-phase thing happening with the rear-set condenser mic and e906 at the same time. I'm guessing there's an issue with the standing wave produced by the combination of the speaker and cabinet that makes mic placement as much science as art?

[@mattelder9147]

Watching back. Just starting to record. Helpful.

[@bradr6071]

This episode bears a repeat while routed through the studio monitors or stereo speakers. Good episode, thanks guys!

[@ThatPedalShow]

+Brad R Absolutely. Headphones is where you really hear it all.. cheers!

[@geetarbube]

Very cool video, guys, and those backing track bits were glorious. Damn, I love Friday mornings with That Pedal Show!

[@miikaelorav]

thanks, this is exactly what I wanted. your videos have been an immense help ever since I started my 'tone journey' and after a year of playing I'm just starting to reach the point where your videos make sense. keep going guys, great stuff!

[@StaulkHolm]

TL;DR: Use YOUR ears and trust YOUR ears. Also try refining/checking mic placement with a high gain sound; the added harmonic content makes the phase and room response more audible. 48:28 As far as I understand it, that "powers of three" rule works for direct sound to the mic; which does indeed make it a great 'rule of thumb' approach for any room. Something that is harder to account for is the reflections in the room that the mic may also pick up. The room reflections could make the distant mic accentuate things that you don't like, even though when they are combined, the If you have a depth you like, One trick is to solo the room and try adjusting the HEIGHT of the microphone. And be extreme with it. Put it at shoe level, put it as high as your stand can go, and everywhere in between until you get a room sound you want. Then combine it with the close mic and move the room mic a few inches closer or farther away until they are in phase. You likely wont need to move it around too much unless you changed the height dramatically. Another note of caution is that this does not work with room mics that are relatively close to the cabinet, you have to be at least 4 or 5 feet away.

[@joequintana5546]

I'm probably the most cliche guitarist when it comes to mic'ing. I've tried many different types and placements of microphones and I still prefer the common SHURE SM-57 center cone. Not only in the studio, but live as well. I don't know why that is because every studio engineer and sound engineer has told me how wrong I am, but then when they hear my sound they all seem to get it. It must be something to do with the way is set my EQ and the dynamics of my playing style that makes it work for me.

[@DavidMorley]

I'm so happy to know you have been using the Sennheiser E-906. It is a secret weapon. Everyone talks about the Shure SM57, which is great, BUT the E-906 sounds just amazing to my ears. It's my number one mic for guitars by a long shot.

[@ThatPedalShow]

+David Morley Yep, Mick here. Use it for pretty much everything. I love that mic. (Or at least I trust it/it's easy to carry and use etc etc.) Thanks for watching!

[@DavidMorley]

Thanks for your videos!

[@victor2510]

Getting back to this video and didn’t read the description before, the SOS article is pretty good thanks!

[@KristofferGildenlow]

Will you perhaps make an update-video to this one? I understand you use ribbon mics these days. Also some tips on how to get rid of (mitigate) the "hum" and "sis" and "sshhhh" sounds that come out of the amp. Cheers!

[@ThatPedalShow]

Hello! We do use ribbons sometimes, but mostly it’s large diaphragm capacitors these days. All of those things you mention can be mitigated to a large extent by mic position. Also be aware that some of the hiss and hum might come from your mic preamp (or input on your interface) being turned up very loud. To check this, turn the amp off and listen to what’s coming in, turning the preamp/input gain on the mic pre/interface up and down. Some of them can be really noisy. Good luck!

[@2und2sind4]

For everyone getting started: a MXL Cube is a great cheap mic to start with. For my band's demos I use it for guitars and vocals. Does a great job

[@MarkArtyniuk]

Great playing as always to both of you. Thanks very much for showing the context of the mics in a mix at the end. Lots of helpful stuff again this week, keep up the good work.

[@barrydunn9206]

A Joe's Garage reference? And the playing over the backing tracks section was awesome!

[@SCOREWIZARDSMUSIC]

Finally! How to choose a cabinet? How to choose speakers?

[@JonKaneshiroGuitar]

I play through a deluxe reverb and we mic it with an sm57 and a sennheiser e609s. I want to have the most natural sound coming through the mics. Would you suggest putting the 57 slightly off axis and close to the cone? Our engineer uses the e609 for a darker sound. Would you guys put it more towards the center?

[@spyderlogan4992]

Brilliant idea having the Sennheiser on a moving caddy to demonstrate going inside/outside of the speaker cone.

[@ChrisDN]

The guys at Tiny Desk often use those long, thin style mics, though I'm sure a modern equivalent, and I've always been impressed with the quality of the recordings. Edit: The section where you wheeled the mic across the face of the speaker has to be one of the best demonstrations I've seen for this. Great job! It truly shows why I've always preferred slightly off-center.

[@RobFlaxMusic]

Those are shotgun condenser mics, used a lot in video recording because they're suuuuuper directional. They're specially designed to eliminate off-axis sound (using cool science and stuff), so they really only capture what they're pointing at and nothing else. That makes them very useful for recording in a noisy environment like an outdoor interview, a movie set (one mic pointing at whomever's talking) or a band with a singer that's really close to other noisy instruments. :-)

[@rynoriffs1984]

great episode guys! very informative. look forward to the show each week, love it. thumbs up from down under!

[@ThatPedalShow]

+Ryan Hilton Cheers Ryan!

[@DavidGlendinning]

I'm sure my wife in the other room was wondering what I was listening to with headphones on... ...'cause I kept saying _"Oh, this is brilliant..."_ to no one in particular. :D #twothumbswayup After hearing the various permutations of mics during the backing track segment, 46:24 was a revelation -- immediately I was reminded of the wet-dry-wet sound you featured on "How To Use More Than One Amp" episode... well, at least in terms of room ambiance. (And then I realized "of course... the room mic is stereo... drrr...")

[@ThatPedalShow]

+David Glendinning Nice one David. Glad you find it useful! Astonishing isn't it. Imagine two pedal demos - one with the mic an inch off the centre of the cone, another wth it five inches off. Totally different sounds!

[@francisgori5631]

Brilliant job gentleman- an excellent tutorial on mics, mic positioning, and an overall basic approach to getting tones from an amp. Thank you as always for your dedication to the instrument.

[@ThatPedalShow]

+Francis Gori Cheers Francis - we appreciate the appreciation!

[@FarewellApollo]

This is very helpful, detailed and informative on an incredibly important and overlooked aspect of guitar playing and recording. Very well done

[@davidrohland9319]

Absolutely the best mic placement tutorial video ever! Thank you so much.

[@ThatPedalShow]

+David Rohland Wow, thanks David - glad you find it useful!

[@TheKnutselaar]

50minutes of tangents and nerding out😂I love you guys!

[@johnetone]

I liked listening to the clean sound as you backed away with the condenser mic. It made me wonder if people have ever literally walked around the room while recording to do manual phasing. Also, a great technique in setting up the room mic is to use an oscilloscope to test for phase coherence. Because although moving the mic further away from the source will reduce the amount of dbs reaching the capsule, this can be slightly reversed if the microphones are in phase with each other.

[@adamloris]

Thanks for this guys! Very very helpful

[@kariabspoel2483]

Thumbs up before watching! I know that cab sims and IRs are great and simple but for me miking and its challenges are part of the fun (no deadlines looming probably help :). Great episode!

[@ThatPedalShow]

+Kari Abspoel Quite. Can sims are fantastic tools. Mics are instruments.

[@kariabspoel2483]

That Pedal Show that is a really good way to put it - you can "play" a great mic really badly and vice versa

[@LostPlanet2024]

Thank you for covering this topic! I've been discovering how touchy any variable can be, can be very frustrating. This helps!

[@brianricker7845]

The ADD is strong in this one. Love you boys. :-)

[@jamiebonapar]

Great episode. I think people often forget the power of panning in a mix.

[@giantessmaria]

Great stuff! I've read that Jimmy Page actually mic-d up his amps from a different room(very ambient room) in parts of Zep ll to get a natural echo.

[@slashaholicanonymous]

Good fun infotainment and a relevant topic to the vast majority of guitarists. Well done as always!

[@mesadurham]

I have watched a lot of your videos. I enjoy them all, but this one was outstanding for being so informative and eye opening! As always, thanks for sharing your insights!

[@ThatPedalShow]

+mesadurham Thank you!

[@royalvalle634]

Best explanation out there guys thanks, simple and concise!

[@ThatPedalShow]

+Roy Alvalle cheers Roy

[@royalvalle634]

That Pedal Show if KZbin had two thumbs up I'd hit that!

[@bryanstansbury5802]

This video is super helpful I really appreciate you guys literally would be lost without you guys!

[@JonathanCooperGB]

What about mic'ing up something like the new Orange Rocker 32 (2 x 10) with a single mic, but running it in wet/dry ... How do you find the sweet spot of a 2 speaker combo?

[@jmath679]

Thanks for another great video guys! I've never miced an amp, nor tried to learn about it either so what you've show me here will be very helpful in knowing what I want in the micing section of my two notes cab! It wasn't that cab sim video that is incoming someday, but it's still massively applicable!

[@JKM395]

Thank you guys for doing this. I'm about to start recording with my new amp and I'm totally new at all this. I appreciate the advice.

[@ThatPedalShow]

+JKM395 Excellent - good luck to you. If we may offer a tiny bit of advice... try not to sweat it. Stick the mic a few inches off the grille somewhere just off the centre of the cone. Then concentrate on playing. :0)

[@Piedscooter1]

Mick - Placing the mics on that roller with good bearings was brilliant.

[@ThatPedalShow]

+Piedscooter1 :0)

[@ThatPedalShow]

+Piedscooter1 These are the things that make me happy. I'm so square it's unbelievable!

[@Piedscooter1]

If there is a better amp mic positioning video out there, I have not seen it.....

[@jon8304]

@ 33:44 "I can do that" with the thick American southern accent just about killed me I laughed so hard.

[@kariabspoel2483]

Yay!! The Veteran! I love mine to bits! (Shoutout to Mr Thorpy)

[@ETILHK54]

Ribbon mics are cool. I've recently build myself an Isolation cab, which has two amps, bigger amp is complimented by condenser mic, smaller amp by dynamic. It's a really janky setup, but after spending some time with it, it sounds pretty good.

[@lukepowell1201]

Super interesting video! As a guitarist who's done lot's of playing and very little recording, this was a really informative eye-opening video.

[@TheRealFreekBos]

Thanks a million guys! Very helpfull