The difference in low end response between the top and bottom speakers on an angled cab is related to the difference in depth inside the cabinet due to the angle itself. The deeper depth of the bottom and parallel position of the speaker produce greater low end. Cheers!
Absolutely, the only issue with blending microphones is trying to replicate them in the same positions, if you are running a multiple session that requires full pack up and reset... Using dry tracks and reamping would be the quickest and best way for multiple mics...
I think its important to think about the fact that you lose DB's and the ability to cut through the mix when you do things this way. Everytime you Change the EQ you change the phase. Bottom line, you will get better results with good mic placement from the beginning. Good phase, good tones without needing much post processing. Especially when layering tracks or mixing multiple guitars together. So yes, mic placement is a huge part of tracking guitars when using a real Cab.
@@lusario2650 all good. It's challenging getting 10000 word thoughts into about 100 characters... we got there in the end and that is all that matters.
mic position is everything! you might be able to eq match a dark position and a bright position, but it would still have a totally different character another thing you might want to try is just putting a piece of tape all the way across the middle of the speaker (a little below, so the mic can be 100% centered) and mark every couple cm so you have an idea of where on the speaker does what. dead center is brightest but also can be thin and harsh, edge of dust cap is a good balance, middle of cone can be useful for blending in lows and mids, and edge of the speaker is usually too dark to be useful, but maybe in a blend. my usual method when making IR's is 5 positions, cap, cap edge, cone closer to cap, cone closer to edge, and cone edge, all in a straight line out from the center to one side. when mic'ing an angled cab, I like to tilt the mic so it's straight on like it would be on a straight speaker.
@@metalprognosis you've got a clean power amp with the GPA100 and a reamp box I presume, you can make IRs. Just run a sine through and record it. Move the mic, repeat. Then use something like voxengo deconvolver and give it the test sine and the recorded sine and you get a nice IR. It's a good way to dial in the best position possible, and you can blend a few with just one mic!
Ah it's been a while since I did this sort of recording. The studio I was at used to do two mics at roughly the same spot but with one angled (sorry I can't remember the exact spot). You've done a really great demonstration of the dramatic changes mic placement can cause. Okay sure you can EQ things later, but 1) why not record the sound you want in the first place, 2) you can't always get enough of the same sound purely through EQ, and 3) EQ can cause artefacts, from memory due to phase distortion or something similar that's fundamental to the way EQs work... I personally realised I'm not interested enough in recording to master all this stuff, but guys who are serious about it really shouldn't be skipping steps like this if they really want to get the best sound out of their gear!
There were lots of pretty rad spots. Unfortunately I don't have headphones good enough to block out all the room noise and just hear what is been captured. That would be the ideal way of doing it.
