Multi-source mic'ing (BKP/Thundertomate/Splawn clip inside)

[TwilightOdyssey]

A while ago I posted a thread about various mono and stero mic schemes for recording guitar (XY, spaced pair, MS were all covered). I thought it would be interesting to post a thread about the mic scheme I've been using more recently, which is called multi-source. The goal of multi-source is to use several mics in key positions in an attempt to mimic what your ear hears from a guitar cab, as opposed to the very narrow 'view' you get from a single mic.

Single mic'ing is great, and has many advantages: it's very direct and pure sounding, and is always in perfect phase. Whenever you start adding more microphones, you spend a lot more time tinkering with their positions to get the phase correct. It also only takes up a single track to record.

The scheme I've been using lately involves 3 mics: a dynamic, a small-diaphragm condenser, and a large-diaphragm condenser. The mics I chose to fill these purposes is a Shure SM57, an Audio Technica DR3700, and a Rode NTK.

I positioned the Shure 'on axis' to one of the driver's dust caps. The DR3700 was positioned 'off axis' on the other driver, and the Rode was about 3ft back to get the entire cab 'picture' as well as some of the room/air movement into the sound. Each mic was sent to its own discrete track and blended when I mixed the clip.

Guitar used: Agile AL-2800
Pickups used: Bare Knuckle Riff Raff
Guitar Accessories: DR Pure Blues Strings, Fender Heavy Celluloid pick, NOS 1970's JAX curly guitar lead

Amp used: Splawn Quick Rod, Gear 1, CLEAN channel
Effects Pedals: Thundertomate Phil Hilborne treble booster

Cabinet used: Marshall 1922 2x12 (Celestion G12T-75s)




http://www.soundclick.com/util/getplayer.m3u?id=6777591&q=hi



What I like about this mic scheme is that you don't have to do much (if any) post-EQ on the guitar tracks. They have a lot of bite as well as oomph, something you always have to compromise between when you use a single mic. However, it took about an hour to get the mics in phase to the point where I was happy enough to record.

[hamfist]

Sounds very good.  It's always been the phase issue which has deterred me from ever doing this.

What technique do you use avoid phase problems ?

[gwEm]

very keen!

[indysmith]

I like it a lot. I think your recorded tone has really benefited from this technique.

[MDV]

I've been planning on trying this when I have roughly an albums worth of tracks (currently roughing out with modellers). This is a very encouraging result/thread/sound.

My plan is SM57 and MD421 close, NT1A room/ambient. I may use an audix i5 in place of the 57 (those 4 mics are all I have!). I expect positioning to be unspeakably nightmarish, especially given the terrible acoustics of my recording room (my lounge, in theory, but its more like a small project studio with a couple of couches now).

[TwilightOdyssey]

Sounds very good.  It's always been the phase issue which has deterred me from ever doing this.

What technique do you use avoid phase problems ?

Checking for phase issues is actually quite easy. Let's say you have two mics. If you bring them up to the same level, the output on your stereo bus should approximately double in volume. If the output stays the same, or diminishes, that means that there is some degree of phase between the two mics.

[TwilightOdyssey]

I've been planning on trying this when I have roughly an albums worth of tracks (currently roughing out with modellers). This is a very encouraging result/thread/sound.

My plan is SM57 and MD421 close, NT1A room/ambient. I may use an audix i5 in place of the 57 (those 4 mics are all I have!). I expect positioning to be unspeakably nightmarish, especially given the terrible acoustics of my recording room (my lounge, in theory, but its more like a small project studio with a couple of couches now).

Those are all good mics. If you want a darker/heavier sound and want to eliminate some of the room, you can throw a blanket (CAREFULLY) over the mics. This will keep the room reflections out of the mics, but the guitar cab will still 'see' the room, of course.

[TwilightOdyssey]

I like it a lot. I think your recorded tone has really benefited from this technique.

Thanks, Indy. I agree.

[_tom_]

Sounded good, definitely an improvement on previous tones imo :) The hi hat seems too loud though and hurt my ears a bit :P

[Oli]

Sounds good, i like it :) It's all about putting the time in at the recording stage, it makes mixdown so much easier!

The thing with phase is: use your ears- if it sounds good, that's all that matters :) If you've positioned your mics and it sounds bad, mute each mic in turn to see if one of them is phasing badly, then move them after that- it could be just one mic that is killing the sound.

[gingataff]

Definitely a more tangible and somewhat chewy tone. Very nice. PDT_003
The idea of the mic placement gives me headaches but the tone works well and has great old-school mojo (think early 70s Vertigo) but with added clarity.
 I think I would prefer a slightly thicker and warmer reverb to blend everything a bit closer but really great nonetheless. :drink:

[38thBeatle]

I listened through headphones Ben. Pretty darn groovy.

[TwilightOdyssey]

Definitely a more tangible and somewhat chewy tone. Very nice. PDT_003
The idea of the mic placement gives me headaches but the tone works well and has great old-school mojo (think early 70s Vertigo) but with added clarity.
 I think I would prefer a slightly thicker and warmer reverb to blend everything a bit closer but really great nonetheless. :drink:

Thanks, ginga!

Yes, this was kept un-effected and lean on purpose.

[TwilightOdyssey]

I listened through headphones Ben. Pretty darn groovy.

Hehe, thanks 38th.

There's a lot more where that came from; stay tuned ... ;)

[MDV]

I've been planning on trying this when I have roughly an albums worth of tracks (currently roughing out with modellers). This is a very encouraging result/thread/sound.

My plan is SM57 and MD421 close, NT1A room/ambient. I may use an audix i5 in place of the 57 (those 4 mics are all I have!). I expect positioning to be unspeakably nightmarish, especially given the terrible acoustics of my recording room (my lounge, in theory, but its more like a small project studio with a couple of couches now).

Those are all good mics. If you want a darker/heavier sound and want to eliminate some of the room, you can throw a blanket (CAREFULLY) over the mics. This will keep the room reflections out of the mics, but the guitar cab will still 'see' the room, of course.

Outstanding :drink: