Recording - May 2014 - 27

Mic check-condensers
Although condensers distort more readily than dynamics, some of the tones they
can capture are certainly worth experimenting with. Many condensers do have
pad switches; don't be afraid to use them.
You'll still get all the rich goodness condensers can offer-typically a more
expanded frequency response, particularly in the lows, with less bitey highs and
rounded mid-upper mids, overall a more
smooth and silky sound than dynamics.
First up, the AKG C414 is a classic
large-diaphragm condenser that has a
beautifully flat response from 30 Hz-1
kHz, a slight dip around 1.5 kHz and a
broad, smooth bell peak around 5 or 6
kHz, sloping off after 15 kHz. Now, to be
exact, I am referring to the C414 B-XL II.
There have been many versions of the
414 since the '60s so there will be some
variation depending on which exact
model you have. The B-XL series is the latest and easiest to find. The other 414 in
this series is the B-XLS, which has a very
similar response curve, with slightly flatter
highs.
In the world of condensers, one cannot
escape the power of Neumann. The three
sisters-U47, U67, and U87-are beautiful mics that offer broad-spectrum capture
and that "it" factor some producers and
engineers can't describe and can't live
without.
Again, Neumann and AKG don't own
the condenser-for-cabinet market, they're
just the most popular ones. For example,
I've also successfully used Audio-Technica
on a few cabs; the AT4060 and the
AT4047, the former of which can handle
131dB SPL (more than average for a condenser).
For me however, the beauty of condensers comes not at close range and
highest SPL, but at arms' length and then
some, which we'll get into in a moment.
Before that, however, let's talk ribbons.
Mic check-ribbons
Historically, one has had to be careful
with ribbon mics due to their delicate construction-quite literally an aluminum ribbon only a few microns thick. If you're not
sure how thick a micron is, one inch is
equal to 25,400 microns. So, it's a pretty
thin little sliver of a ribbon in there. That
ribbon is what gets blasted with SPL and
conducts the electronics of the mic.
Nowadays there are ribbons that can
take a beating, and when they do, they
deliver a warm honey feel to the lows,
and a rich and smooth creaminess to the
mids. Ribbons are not generally known
for their airy or crisp highs, which can
make them a good pairing for, say, an
SM57. Think warm caramel sauce as
opposed to icy dibs.
The Royer R-121 is perhaps the most
famous of these examples. With the ability

to handle up to 135 dB SPL, it sits happily in front of any guitar cab, capturing
creamy and rich textures that have
become well known and loved in the studio world.
The Beyerdynamic M160 ribbon is
another popular choice, giving you a little bit more in the highs than the 121 with
a comparable SPL rating of 129 dB.
The Coles 4038, made by BBC as a
broadcast mic back in the 1950s (and
revisited in this very issue by Paul Vnuk Jr.
in his review of Coles' new 4030L-read
all about it!), has a fairly flat frequency
response curve. It breaks up more readily
than the aforementioned two ribbons and
is known for its delicacy, but delivers soft
highs and almost goosebump-inducing
smooth and cozy lows and mids.
So, with a nice smorgasbord of mic
options, let's dive right into where to put
them.
Location, location, location
When it comes to cabinet miking, there
are a few basic generalizations to keep
in mind when you're starting off.
First, the further you are from the cabinet, the more room tone you'll get. The
direct sound of the cabinet will be less
bassy and have softer highs. The closer
you are, the more direct cabinet sound
you'll get, with added proximity effect
down low plus piercing highs.
Second, the closer you are to the center of the speaker cone, the brighter and
more direct the sound will be. As you
move towards the edge of the cone, the
sound will get darker.
Third-on-axis vs. off-axis. This comparison refers to the angle at which the
mic is placed in relation to the sound
source. So, let's say you have that SM57
placed at a 45 degree angle against the
grille of the cab. That is 45 degrees offaxis. If you place it pointing straight
towards the cab, that's on-axis. Not surprisingly, on-axis gives your more treble
and more punch. Off-axis gives a bassier,
darker and warmer tone.
Let's start with close miking, which to
me is anything up to 6 inches away from
the cabinet. Most engineers and producers have their own preference; some
wanting to literally shove the mic into the
grille while others prefer an inch or more
of distance. In most cases, I like to see the
smallest sliver of light between the grille
and the diaphragm of the mic.
I say "most cases" because there is
always variation. Something I recommend is to have someone out with the
cabinet moving the microphone back and
forth from the amp, 6 inches to right up
front, while someone plays through the
amp and you listen on headphones in the
control room. This will allow you to hear
the spectrum of close miking, solidifying
your sweet spot.
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Recording - May 2014

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