I bought a used Twin and I was wondering whats the best way to mic it? Is a SM57 lying in the back of it ok or should I do the mic in front draped over the top or get a mic stand and do it that way? Is a SM 57 to much or can I go with something cheaper? The last amp I used was a Marshall MG series that had a 1/4 inch line out to use for a direct line to the board, and the Twin doesn't have that. We're not playing the palace or stadiums, just the local bar scene and an occational outdoor gig. Opinions?

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Life is like a sh*t sandwich. The more bread you have, the less sh*t you have to eat.

I mic off-axis from the front......



In this case, I'm using an old AKG D-1000E but I've also used the Shure SM57 with excellent results.

HTH

Arjay

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"Here's why reliability is job one: A great sounding amp that breaks down goes from being a favorite piece of gear to a useless piece of crap in less time than it takes to read this sentence." -- BRUCE ZINKY

An SM57 for live use will be just fine and probably sound much better than any line out would.

I would not drape it over the top (you'll miss 3/4s of your tone as it blows right past the diaphragm which will be pointing at the floor in that setup) I wouldn't put in the back either unless you want your twin to sound like you dropped it in a mud puddle!

Do just what that picture posted looks like. on a shorty stand, pointed off center, I will also say that for recording, you really need to move the mic around tho, find the sweet spot, and leave it there. Live, it's usually not as important.

For a starting point IME slight;ly above the cone, a bout an inch or so off center, left or right pointed at the spot near where the cone and the paper meet.

I wouldn't put an SM57 directly in the middle pointing at the cone (aka: the cone of death) unidirectional mics don't usually sound all that complimentary right there.

and btw... I have one of those old AKGs.. a great amp mic for sure, the attenuator works great for finding the right pull based on the room ambiance.

Rock on!

I almost always use a 57 when micing an amp. 57s and 58s are what I have so that's what I use. The 57 can take fairly high SPLs better than many other mics but they do still have limits. I never place the mic near the center of the driver. I've always found best results placing it just inside the surround by maybe an inch or an inch and a half. I usually point the mic slightly out and away from the center of the cone if it's a large amp and a loud gig. Closer to straight on but still angled if it's a small amp and a low volume gig.

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Just think of how awesome a guitar player you could have been by now if you had only spent the last 10 years practicing instead of obsessing over pickups and roasted maple necks.

I carry a 57 with me "just in case".

But if you're playing somewhere that doesn't have their own mics most likely the club isn't gonna have much of a PA either. You'll be better off just using a Twin loud enough and not putting it thru the most likely underpowered PA.

+1

I discovered that feature quite by accident -- a very pleasant surprise to be sure. The mic was an heirloom inherited from my late father. I had no idea whether it even worked or not when I found it among his artifacts. He likely picked it up at a Goodwill store for a buck or two (he was quite the miser in addition to being an electronic engineer and a fan of old tube radios). Dad prolly paid two bucks for it.



Arjay

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"Here's why reliability is job one: A great sounding amp that breaks down goes from being a favorite piece of gear to a useless piece of crap in less time than it takes to read this sentence." -- BRUCE ZINKY

that is a GREAT story!

It's a Twin - unless you're playing arenas, you'll probably have more volume available than the PA system.

Seriously though, if you have to keep the level down on a Twin low enough that it needs a mic, then it's probably not going to sound great regardless of mic techniques. They really need to be cranked a bit to sound good, and by the time they're doing that, you're rendering small animals unconscious at 200 yards. The usual question is 'How the hell do I make my Twin usable in small venues without killing the audience?'

I used to gig with a Twin on a regular basis - played some pretty large venues, and the problem at every single one was keeping the damn thing at a low enough level without all the lovely tone disappearing.

It's also not unheard of to mic the back of a guitar amp -- sometimes, blending in the tone from the back of the amp is a great way to get the full picture of an amp's tone.

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Being able to play and enjoy music is a gift that's often taken for granted.

Don't leave home without it!