How To Mic Up A Guitar Amp For The Best Tone?

Mic’ing up a guitar amp is essential for capturing great tone when recording or performing live, and at guitarplayers.net, we’re here to help you master this skill. By exploring different microphone techniques, placement strategies, and considering the room’s acoustics, you can achieve the professional-sounding results you’ve always wanted. You can elevate your sound by fine-tuning your mic placement, experimenting with multiple microphones, and considering the overall sonic landscape.

1. Why Does Mic’ing Up a Guitar Amp Matter?

Mic’ing up a guitar amp is crucial for capturing the true sound and character of your guitar playing. By strategically positioning microphones, guitarists can translate the unique tonal qualities of their amplifier to a recording device or live sound system.

Accurate Sound Reproduction: A well-placed microphone accurately captures the amplifier’s tone, ensuring the recorded or live sound represents the intended sound.
Tone Shaping: Mic placement can dramatically alter the captured sound, allowing for precise control over the final tone.
Professional Sound Quality: Proper mic’ing techniques help achieve a polished, professional sound, essential for recordings and live performances.
Creative Flexibility: Experimenting with different microphones and placements offers a wide range of sonic possibilities, fostering creative expression.

2. What Are The Key Considerations Before You Mic Up Your Guitar Amp?

Before diving into microphone techniques, consider these foundational aspects to ensure the best possible sound.

Guitar Quality: Select a guitar that resonates well and matches the desired tone for the recording or performance.
String Condition: New or well-maintained strings produce a clearer, brighter tone, essential for a high-quality recording.
Amplifier Selection: Choose an amplifier known for its desirable tonal characteristics and reliability.
Cabinet Interaction: Understand how the amplifier’s cabinet interacts with the room’s acoustics to optimize the sound.
Room Acoustics: Evaluate the room’s sonic properties to minimize unwanted reflections and ensure a balanced recording environment.
Cable Quality: Use high-quality cables to minimize signal loss and maintain the integrity of the guitar’s sound.

3. How Do You Optimize Your Guitar Amp’s Sound Before Miking?

Getting the sound right at the source is paramount, as Tony Platt emphasizes: “Is that sound coming out of your amplifier the sound you want to hear? If it isn’t, show me what it is and we’ll try to get somewhere close to that before we even put a microphone on.”
Here’s how to fine-tune your amp:

Guitar and Amp Compatibility: Experiment with different guitars and amps to find combinations that produce the desired tone.
EQ Settings: Adjust the amp’s EQ settings (bass, mid, treble) to sculpt the tone and achieve the right balance.
Gain Staging: Optimize the gain to achieve the desired level of distortion and sustain without excessive noise.
Speaker Selection: Choose speakers known for their tonal characteristics, matching the amp and desired sound.
Tube Selection/Biasing: For tube amps, experiment with different tubes and biasing to fine-tune the amp’s response and tone.
Room Placement: Experiment with the amp’s position in the room, leveraging the room’s acoustics to enhance the sound. Tony Visconti advises moving the amp until you achieve a good sound, noting the room is very much part of the sound.

4. What Are The Best Microphones For Miking A Guitar Amp?

Selecting the right microphone is crucial for capturing the desired tone of your guitar amp. Here are some top choices favored by industry professionals:

4.1. Shure SM57

The Shure SM57 is a ubiquitous dynamic microphone renowned for its durability and focused sound.

Frequency Response: Slight ‘suckout’ at 300-500Hz reduces muddiness and a broad 2-12kHz presence peak adds bite.
Popularity: Favored by producers like Chuck Ainlay, Mike Clink, and Bob Rock for its reliability and distinctive sound.
Applications: Ideal for rock and other genres where a clear, punchy guitar tone is desired.

4.2. Sennheiser MD421

The Sennheiser MD421 is a dynamic microphone with a wider frequency response, capturing a fuller, more detailed sound.

Frequency Response: Even heftier sensitivity boost upwards of 1kHz, offering a different character to the sound compared to the SM57.
Diaphragm Size: Larger diaphragm contributes to unique off-axis response anomalies.
Applications: Often used in combination with other mics to add depth and clarity to the guitar tone.

4.3. Electrovoice RE20

The Electrovoice RE20 is a dynamic microphone known for its wide and flat frequency response and resistance to proximity effect.

Directionality: Highly directional, making it great for isolating the guitar amp’s sound.
Users: Favored by Steve Albini and Glenn Kolotkin for its high quality and ability to handle high sound pressure levels.
Applications: Excellent for rock and roll, providing a robust and clear capture of the amplifier’s sound.

4.4. Neumann U87

The Neumann U87 is a large-diaphragm condenser microphone prized for its extended frequency response, especially in the low end.

Sound Character: Imparts a slightly softer, more diffuse sound.
Applications: Often paired with an SM57 to capture a blend of clarity and warmth.
Versatility: Used in various genres to add depth and dimension to guitar recordings.

4.5. AKG C414B-ULS

The AKG C414B-ULS is another popular large-diaphragm condenser microphone that rivals the U87 in popularity.

Frequency Response: Captures a wide range of frequencies, making it suitable for diverse guitar tones.
Applications: Similar to the U87, it is often used to complement dynamic microphones in guitar recordings.
Characteristics: Known for its ability to capture subtle nuances and details in the guitar’s sound.

4.6. Ribbon Mics

Ribbon microphones, such as those from Beyerdynamic, Coles, RCA, and Royer, are known for their smooth sound.

Polar Pattern: Typically figure-of-eight, picking up more room ambience.
Sound Character: Produces a ‘smoother’ sound compared to typical condenser microphones.
Users: Favored by Thom Panunzio, Joe Barresi, and Steve Albini for capturing a vintage, warm tone.

5. What Are The Best Single-Mic Techniques For Guitar Amps?

Even with just one microphone, strategic placement can yield excellent results. Here are several approaches:

5.1. Speaker Cone Auditioning

Method: Audition different speaker cones in a multi-speaker cabinet to find the best sound, as each speaker may sound slightly different.
Benefit: Ensures the microphone captures the most desirable tonal qualities of the amp.

5.2. On-Axis vs. Off-Axis Placement

On-Axis: Positioning the mic directly in the center of the speaker cone captures a brighter, more direct sound.
Off-Axis: Moving the mic slightly away from the center warms the sound, reducing harshness. Mike Hedges notes this provides tonal differences from the edge and center of the speaker.
Fine-Tuning: Even small adjustments can significantly impact the recorded sound, as Mike Clink adjusts the SM57 by inches to find the sweet spot.

5.3. Angled Mic Placement

Technique: Angling the microphone can change the frequency response, with off-axis sounds typically being duller.
Example: Chuck Ainlay angles the SM57 off-center, towards the middle of the speaker, just off the grille.
Benefits: Allows for precise control over the high-frequency content and overall tonal balance.

5.4. Distance from the Amp

Close Miking: Placing the mic close to the grille captures more direct sound, minimizing room ambience.
Distant Miking: Moving the mic further away captures more of the room’s sound, adding ambience and depth. Alan Parsons prefers a foot away to capture the amplifier’s sound, not just the cabinet.
Experimentation: Try different distances to find the balance between direct sound and room ambience that best suits the desired tone.

6. What Are The Advantages Of Using Two Microphones Together On A Guitar Amp?

Using two microphones can create richer, more complex guitar tones. Here’s how to make the most of this technique:

6.1. Coincident Mic Placement

Technique: Place two mics as close as possible to minimize phase cancellation.
Benefits: Captures a detailed and balanced sound, allowing for greater flexibility in the mix.
Example: John Leckie highlights the amazing difference in sound and coloration from adjusting the balance of each mic.

6.2. Popular Mic Combinations

SM57 + MD421: A versatile combination offering a blend of punch and warmth.
SM57 + Large-Diaphragm Condenser (e.g., U87): Combines clarity with depth and body.
SM58 + U67: John Leckie prefers this for a flatter, unstimulated signal, with the U67 adding warmth.

6.3. Balancing Mic Levels

Technique: Adjust the levels of each microphone to shape the overall tone.
Example: Leckie favors the SM58 with the U67 at 10-15dB down, noting the significant tonal changes even with subtle adjustments.
Phase Alignment: Bill Price emphasizes the importance of finding a close phase match to avoid unwanted cancellations.

6.4. Complementary Mic Selection

Concept: Pair a ‘cheap’ or ‘bad’ mic with a good mic to find an ideal sound, balancing brightness and fullness.
Example: Jim Scott and Stephen Street suggest combining an SM57 with a U87.
Bright and Dark Mics: Steve Albini blends bright and dark mics, such as a ribbon and a condenser, for a balanced capture.

7. How Do You Mic Different Speaker Cones On A Multi-Speaker Cabinet?

Blending the sounds from multiple speaker cones in a multi-speaker cabinet can create a wider, more complex guitar tone.

7.1. Miking Multiple Speakers

Technique: Use two mics on different speakers to capture their unique characteristics.
Example: Steve Churchyard mics two of the best-sounding speakers in a 4×12 cabinet with SM57s, blending them in the control room.
Benefits: Captures a richer, more textured sound than using a single mic.

7.2. Stereo Miking Techniques

Technique: Use two mics pointing at different speakers and spread them out in the stereo mix.
Application: Ideal for creating a wide guitar sound, especially when doubling guitar parts.
Example: Tony Platt used this technique on AC/DC’s Back In Black to create a big unison guitar sound.

7.3. Using Different Mics on Each Speaker

Experimentation: Try using different microphones on each speaker cone to capture distinct tonal qualities.
Examples:
- SOS interview with Toby Wright shows an SM57 and an MD421 on separate speakers.
- Don Smith used an SM57 and an AKG C451 on separate speakers when recording Keith Richards.
- Sylvia Massy Shivy also uses the SM57+MD421 combination.
Phase Considerations: Sylvia Massy Shivy advises being careful with phase, checking until the signal is strongest.

8. How Do You Use Ambient Mics To Capture Room Sound?

Adding ambient mics can bring depth and realism to your guitar recordings by capturing the room’s natural acoustics.

8.1. Distant Mic Placement

Technique: Position mics further away from the amp to capture the room’s ambience.
Example: Al Schmitt starts with an SM57 close mic, then adds a Neumann U67 or M50 for the room, 15 to 20 feet away.
Benefits: Creates a sense of space and natural reverberation.

8.2. Omni Microphones

Polar Pattern: Omni microphones are ideal for capturing room ambience due to their ability to pick up sound from all directions.
Application: Use an omni mic, such as the Neumann M50, to capture a natural and spacious room sound.

8.3. Capturing Reflections

Technique: Aim ambient mics towards reflective surfaces to enhance the sense of space.
Example: Tony Visconti turns the room mic towards the studio window to capture reflections of the guitar sound.
Alternative Mics: Visconti also uses PZM mics as an alternative for capturing room ambience.

8.4. The ‘Vortex’ Technique

Description: Chris Tsangarides’ ‘Vortex’ involves building 30-foot-long walls along each side of the guitar cabinet using studio screens, creating a flare shape.
Mic Placement: A close condenser mic, plus a couple of condenser mics at 15 and 30 feet away within the flare.
Panning: Panning the distant mics to the opposite side of the mix from the close mic creates interesting panning effects for solos.
Benefits: Creates a huge sound spread across the stereo spectrum, ideal for rhythm parts.

8.5. Adapting the ‘Vortex’

Smaller Studios: Use the corner of the room or studio glass to simulate the effect of the screens.
Visconti’s Trick: Aim ambient mics at the studio glass to increase the apparent distance of the farther ambient mic.

9. How Do You Combine Close And Ambient Techniques For Custom Setups?

Professionals often combine close and ambient mic techniques to create custom setups tailored to specific recording needs.

9.1. Comprehensive Mic Setups

Example: Joe Barresi uses the SM57 and MD421 combination, along with AKG C414 for more low end, or a Neumann U87/ribbon mic for personality.
Versatility: Combining multiple mics allows for capturing a wide range of tonal options.

9.2. Three-Mic Technique

Example: Eddie Kramer uses an SM57, MD421, and M160 in a tight pattern, then adds a U67 away from the amp for ambience.
Tone Shaping: Allows for picking and choosing the tone quality from each mic, combining them to achieve the desired sound.

9.3. Managing Complex Setups

Carlos Santana’s Setup: Glenn Kolotkin used multiple microphones (Electrovoice RE20s close, Neumann U47s further away, an SM56, U87s) to manage Santana’s complicated setup with multiple amps.
Blending: Using multiple mics allowed Kolotkin to get just the right blend from the various amplifiers.

10. How Can Phase EQ Be Used Creatively When Miking A Guitar Amp?

Jack Douglas creatively uses phase cancellation between microphones to achieve unique EQ effects.

10.1. Phase EQ Setup

Mic Placement: Use a Shure SM57, a Sennheiser MD421, and a favorite condenser in a triangle, with the dynamics angled up against the grille but off-axis.
Condenser Placement: Place the condenser about a foot away, facing the speaker, on-axis, with a 10dB pad.

10.2. Balancing and Phasing

Level Setting: Bring up each mic individually to its optimum level on the board.
Phase Check: Ensure the signals are adding and not subtracting as you add in the other mics. If not, reverse the phase.
Adjusting Faders: Moving the faders back and forth creates a broad range of EQ effects due to the phase relationships.

10.3. Creative Phase Inversion

Technique: Flipping the phase on one of the mics acts like an extreme filter.
Benefits: Substantially reinvents guitar sounds at mixdown without heavy processing.
Independent Processing: Process each of the three mic signals independently for even more sonic mileage.

10.4. Mix Integration

Douglas’ Experience: Recordings made using the phase EQ approach integrate well into mixes without requiring excessive boosting.
Distinct Character: The separate and distinct character of each mic ensures that the guitar sound will be present in the mix without wiping out other elements.

11. How Can You Maximize Your Guitar Tone with guitarplayers.net?

At guitarplayers.net, we’re dedicated to helping you achieve the best possible guitar tone. Whether you’re a beginner or a seasoned pro, our resources can guide you every step of the way.

11.1. Extensive Learning Materials

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11.2. Community Engagement

Forums: Connect with fellow guitar enthusiasts in our active forums, sharing tips, tricks, and experiences.
Expert Advice: Benefit from the knowledge of experienced guitarists and sound engineers who frequent our community.

11.3. Cutting-Edge Content

Latest Trends: Stay updated with the latest developments in guitar technology and techniques.
Artist Spotlights: Discover insights and techniques from renowned guitarists.

11.4. Call to Action

Explore Our Resources: Visit guitarplayers.net to explore our lessons, reviews, and sheet music.
Join Our Community: Participate in our forums to connect with other guitar players and experts.
Enhance Your Tone: Start experimenting with the mic’ing techniques discussed in this article to elevate your sound.

12. FAQ: How To Mic Up Guitar Amp

12.1. What is the best microphone for miking a guitar amp?

The Shure SM57 is widely considered a top choice due to its durability, focused sound, and ability to handle high sound pressure levels, though the best choice depends on the sound you want.

12.2. Where should I place the microphone on a guitar amp?

Start by placing the microphone close to the speaker cone, slightly off-center. Experiment with moving it closer or further away, and adjusting the angle to find the sweet spot.

12.3. Should I use one microphone or multiple microphones on a guitar amp?

Using multiple microphones can capture a more complex and detailed sound. Experiment with combinations like an SM57 and a condenser mic to blend different tonal qualities.

12.4. What is phase cancellation and how do I avoid it when miking a guitar amp?

Phase cancellation occurs when sound waves from multiple microphones arrive at the recording device out of sync, causing certain frequencies to be reduced or eliminated. Minimize this by placing mics close together or using the “phase EQ” technique described by Jack Douglas.

12.5. How important is the room when miking a guitar amp?

The room plays a significant role. Experiment with amp placement to leverage the room’s acoustics. Adding ambient mics can capture the room’s natural reverb, adding depth to the recording.

12.6. Can I use a condenser microphone on a guitar amp?

Yes, condenser microphones like the Neumann U87 or AKG C414 can add warmth and detail to a guitar recording, especially when paired with a dynamic mic like the SM57.

12.7. What is the best way to EQ a guitar amp recording?

Experiment with the “phase EQ” technique for unique filtering effects. Also, process each mic signal independently to fine-tune the sound without heavy processing.

12.8. How far away from the guitar amp should the ambient mic be placed?

Ambient mics are typically placed several feet away from the amp—ranging from 5 to 20 feet—to capture the room’s natural reverb.

12.9. Is it better to mic the front or back of a guitar amp?

Typically, guitar amps are miked from the front to capture the direct sound of the speaker. Miking the back of the amp can capture a different tonal quality but is less common.

12.10. What are some common mistakes to avoid when miking a guitar amp?

Common mistakes include neglecting the room’s acoustics, failing to experiment with mic placement, and not checking for phase cancellation between multiple microphones.

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