In today’s studios, ribbon microphones have become the leading choice when engineers seek to capture the full detail and character of guitar and bass amps. Ribbon mics accentuate desired tonal details while softening the less-flattering, harsher frequencies that can complicate a mix.
When positioning a ribbon mic on an amp, there are a few options to consider. First, try orienting the mic facing the amp straight-on. Depending on how close or far you position the mic from the amp, this standard technique will often produce the most accurate, balanced frequency response.
If you find that the proximity effect of the microphone creates too much low-end, try angling the mic so that the ribbon is no longer parallel to the amp face. This will temper the low-end proximity effect, while still retaining the extended top-end of an AEA ribbon. This change in angle also prevents damage from the air blasts produced when plugging or unplugging instruments from the amp.
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Another option to capture different tones than the straight-on position would is an off-axis position. This position can capture the varied tones produced by different areas of a speaker cone.
Proximity effect is inherent in every ribbon microphone. It’s a highly useful feature for engineers who depend on ribbons to deliver warmth and smoothness to their tracks. The distance at which proximity effect is present varies with each AEA microphone. For instance, the proximity effect of the NUVO N22 is present when recording a source from closer than two inches, while that of the R84 series microphones is present from 18 inches and closer.
The NUVO N22 is a highly effective microphone for capturing the full frequency range of an amp, highs and lows included. When positioned two inches from the amp’s grill, the N22 delivers low-end proximity effect other microphones can’t, while also capturing the high-end frequencies that one would expect from an SM57.
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The N22’s modern construction and design lend it incredible durability previously thought unattainable by traditional ribbon production. It is rugged enough to survive touring and other live settings. The N22 is not susceptible to damage by loud sound sources like bass amps and can handle 141+dB SPL at 1 kHz.
R44 & R84 Series MicsThe one and only AEA R44C – #RibbonRegram from @austinsignal A post shared by AEA Ribbon Mics and Preamps (@ribbonmics) on Apr 13, 2018 at 12:05pm PDT
Legendary musician and engineer, Les Paul, relied almost exclusively on the RCA 44 to record anything and everything, amps included. An R44 recording an amp at close-range will create unexpected, larger-than-life sounds while positioning it afar will incorporate immense ambience to deliver a complete sonic image of an amp in the context of a room. AEA’s R84 series ribbon microphones are a terrific choice to impart the same classic tone of the R44 with less proximity effect and at a lower price point.
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The R92, with less proximity effect than the R84, is the ribbon of choice for musicians like Ryan Adams and Jack White when they record their guitar amps. Similar in application to the N22, the R92 is effective at close-range recording, though it produces a ribbon sound more traditional than that of the N22.
Amps love ribbons and it’s mutual. No matter the direction in which you take it, a ribbon mic on an amp will produce unparalleled results.
Related Tricks of the Trade Battle of Two Near-Fields: R92 vs N22 on Guitars Amps How-To How To Record Electric Guitar With the N22 Audio samples and techniques for tracking electric guitar with the N22. How-To How To Record Electric Guitar With the R84The classic ribbon character of the R84 Series comprises detailed mid-range, extended lows and a figure-of-8 polar pattern, making it a terrific tool to record an electric guitar amp.
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The R84A is an active version of the R84 that retains the same sonic character of the R84, with an additional 12dB of output and a stable impedance. This gives a consistent frequency response and greater flexibility with different preamps. These techniques and audio samples apply to both the R84 and R84A.
Try positioning the R84 roughly 8 to 18 inches in front of the speaker’s center, keeping in mind the R84’s proximity effect accentuates the bass of a source within 18 inches of its reach. Within that range, moving the R84 closer to the amp will accentuate bass, while pulling it away will lessen that effect.
The R84 delivers balanced a treble/bass ratio at distances greater than some might expect; from as far as 15 feet away, the R84 will still retain its characteristic low-end. This is an effective application for the R84, as it allows the mic to breathe in the massive spread of sound that fills and interacts with a large space.
Dynamic + Ribbon Mic Placement
A popular close-mic application of the R84 involves blending its signal with a dynamic mic to gain a high-end bite in the mix. Place the R84 2 inches from the speaker’s center and align a dynamic microphone adjacent, remembering to correct phase between the two microphones before tracking.
Some engineers choose to treat the compound signals from the two mics as one by panning them together. Others opt for hard panning both mics to their own ends of the mix, a method that adds dimension and depth to an electric guitar tone.
Sample delaying one of the two microphones by roughly 20 to 50 milliseconds gives the impression of a larger room, achieving greater depth in a mix. Remember to ensure that the sample delay is short enough to avoid phase issues.
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Some engineers choose to treat both mics as one by panning them together. Others opt for hard panning both mics to their own ends of the mix, a method that adds dimension and depth to an electric guitar tone.
Yet another technique for blending the R84 and a dynamic microphone involves positioning the dynamic 2 inches from the speaker’s center and the R84 roughly a foot behind it. The dynamic microphone acts as a focus mic while the R84 serves to capture the room and natural reverb. With this mic setup, you can use the same techniques as above to create a whole palette of sonic styles. Try sample delaying the R84 in this position to create a nice and natural larger sound.
Related How-To How To Record Acoustic Guitar With the R84 How-To How To Record Drums With the R84 How-To How To Record Vocals With the R84Ribbon microphones are the preferred choice of many engineers when recording bass and electric guitar amps. The low-end proximity effect inherent in ribbon mics can bolster the lows of an amp while ribbons’ extended highs provide balance to that end of the frequency spectrum. The balanced frequency response of ribbons generally excludes the need for blending additional mic signals for a full, complete sound.
Royer R 121 Ribbon Microphone Nickel
When positioning a ribbon mic on an amp, there are a few options to consider. First, try orienting the mic facing the amp straight-on. This position will produce the most accurate, balanced frequency response.
If you find that the proximity effect of the microphone creates too much low-end, try angling the mic so that the ribbon is no longer parallel to the amp face. This will temper the low-end proximity effect, while still retaining the extended top-end of a ribbon.
Another option to capture different tones is an off-axis position. This position can capture the varied tones produced by different areas of a speaker cone.
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To ensure that the ribbon will not be damaged by strong blasts of air from an amp, place your hand near the amp grill and move it away until you can’t feel moving air, then place the microphone in that position. As an additional precaution, you can tilt the ribbon slightly upward, thereby relieving the ribbon of some tension and allows it to take slightly more impact from air.
A widely popular amp recording method involves blending one ribbon signal with a moving-coil dynamic mic to gain additional high-end bite in the mix. When applying this method, remember to correct phase between the two microphones before tracking.
Many engineers use multiple mics on the same amp to craft a tone. When doing so, ensure that your mics are all equidistant from the amp. That way the sounds arriving at each microphone are in phase. If you plan to use multiple mics that are not equidistant to the amp, you can double check phase coherency by toggling the polarity switches on your preamp or track in your DAW.
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Related Tricks of the Trade Battle of Two Near-Fields: R92 vs N22 on Guitars Amps How-To How To Record Electric Guitar With the N8 How-To How To Record Electric Guitar With the R84
N22 R84 Series R44 Series KU5A N8 Private: NUVO Travel Tube NUVO Windscreen NUVO Stereo Kit NUVO Blumlein Coupler RPQ2 RPQ500 TRP2 KU4 Private: R88mk2 R92
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