What Mic For Recording A Steel

Paul King · From: Gainesville, Texas, USA

I am sure this topic has been covered before but here it goes again. I wonder what mic you guys find the best for a steel in a recording studio. I have went direct out of the amp before but there was a hum so we scratched that. I am just looking for your experience and how the mic was place on the amp when recording.

chas smith · From: Encino, CA, USA

Earthworks QTC 1, expensive, but really good.

Ron Randall · From: Dallas, Texas, USA

Hi Paul,

If it is a pro studio, the engineer should know what he likes to work with.
If it is a project studio, Shure SM57 mic aimed at the speaker is standard operating procedure. Some like the Sennheiser 421(?).Aim the mic somewhere between the center and the outer edge. If there are other instruments playing in the same room at the same time, place the mic very close to the speaker. If other noise is not an issue, back up several feet, to get more of a natural sound. You will want a good preamp after the mic, before going to the board.

Hope this has helped.

Ron

Ron Randall · From: Dallas, Texas, USA

Hi chas!

chas knows

Dan Tyack · From: Olympia, WA USA

My favorites are ribbon mikes. I own a Royer 121, but I record a lot with a vintage Coles.

Another cool but unusual choice is the Shure SM7. Its a broadcast mike, but I like it for steel. It sounds like an SM57, but with a low end. Plus the midrange isn't as agressive sounding.

Brad Sarno · From: St. Louis, MO USA

Dan, isn't that Royer amazing? I finally got my hands on one recently. Really amazing. I've been using my Coles for years and still choose it when I want the big fat real-warm sound. The Royer is more natural and hi-fi but with zero harshness. Both sound great on guitar amps. Sm57 still works great on steel for your more standard tone. Mic placement is everything.

Brad Sarno

Gerald Menke · From: Stormville NY, USA

Dear Dan and Brad,

Right on! You both took the words right out of my mouth. I did a session last summer and the engineer had a 121 on my amp, the sound, even using hard disk recording was phenomenal. Sounded exactly like what was coming out of the amp! Only problem is, that it ruined me, when I hear the steel with an SM57 coming through the monitors, I am generally so bummed...no comparison with that fine ribbon tone. A pity that those mics are around, what $1100, at retail? I should just bite the bullet and buy one.

The Coles 4038 is also a bad mofo on the steel, so musical and transparent.

Gerald

David L. Donald · From: Koh Samui Island, Thailand

Double ditto on the Earthworks QTC-1, Especially if the room is great too.

Also I use the Earthworks SR-71, my amp is stereo, so I sometimes use the Brauner Valvet and the SR-71

The Royer is sweet also. A very different sound, but quite effective.

I have used it as a warmth mic on a grand piano a few feet back with Neuman's under the top and a Blumlien array across the room.
Brad has heard those piano mixes, so I think he might agree it's a nice rig.

[This message was edited by David L. Donald on 13 April 2004 at 08:51 AM.]

Chris Allen Burke · From: Signal Hill, CA

I think you are all selling yourselfs short. Have recorded many times using a AKG 414. Mainly used for vocals, but what a rich and honest tone for steel. It will be the exact sound of your amp.

Keeponapicin'
CAB

Tony Prior · From: Charlotte NC

Recording is always a great topic..and it always brings out items that "Regular" studio guys use,as mentioned above..
but..

That does not mean you cannot get good results with lesser $$ gear..

A mid to hi end studio should have some pretty good gear, where a home studio, like me..will have budget gear which means that you may have to work a little smarter.

There are many many techniques that bring out quality results with lesser gear..

Your first point was noise going direct..that is easily fixed by finding the source of the noise..or perhaps going thru a tube preamp..or POD..etc..

Using a quality mic at the speaker cab is always the standard..but if you have noise from the Steel and amp..noise is what you will still get..

Lately I have been studying..make that experimenting ,with different approaches..2 mics, 1 at the cab and one across the room..
A dynamic ( 57) at the cab and a condensor ( MXL 2001 low cost large diagraphm) across the room..recording with 2 channels, recording dry ( no reverb or effects or EQ ) and writing specific EQ's for each channel with the EQ processor on board the recorder for the mix after the tracks are recorded.

During the mix I use a traditional reverb setting for the back-up and fills but for the Steel solo's I use an Early Reflections reverb with a tad of slap delay and this clearly separates the "regular" backup Steel from the solos' which now jump out on the track.

My normal record process is direct thru a tube (12AX7) preamp..and my point is this..there is no written or right way..there are preferred ways..there are those that really like a particular sound and stay with that technique..and know how to reproduce it on a regular basis..but that
does not mean there are not other ways..it's the end result that counts..and theres lots of ways to get there..Quality gear is always a plus..but average gear can get the job done too..

As you can see I really like this topic..

but after all is said and done, a $200 mic or $2000 mic..ya still gotta play in tune, on pitch and play the right notes at the right time..I still have not come across an engineer or studio that can resolve those small issues !

t

[This message was edited by Tony Prior on 14 April 2004 at 02:26 AM.]

David L. Donald · From: Koh Samui Island, Thailand

Tony is right also, you don't need the big guns to get an acceptable sound.
The 414 is a nice mic too.

A Studio Projects low end mic is not bad for the price, and gets a good sound. But use a tube preamp if you can for any recording especially into a computer digital system.

Just avoid the typica stage vocal mics... UNLESS you want that particular sound.
Thier curves are not optimised for anything mut voices in PA systems. Sure you CAN record with an SM57 or SM58, but they will likely always sound a bit off compared to your sound in the room.

The newer Beta 57 or 58 would be better, but still and an actual recording mic should be your prefrence for a recording project at home or the studio. But you needn't seel a child, the farm or your car to get something usefull on many different instruments as well as vocals.

Bob Hoffnar · From: Austin, Tx

I have a 414 that works fine. I have had good luck with most mikes depending on the situation. I have recorded big budget CDs with a 57.

Ribbon mikes are cool but they do have there problems. They absolutely color the sound and I have found that they can be overloaded when I record at my normal (loud) volume.

I have found that mike placement is much more significant than the mike itself.

Bob

Michael Brebes · From: Northridge CA

I also tend to lean toward the AKG 414. A very good noncolored mic that seems to work on more things than any other condensor. Have also gotten good results with ribbons, like the Royer 121 and an old RCA 74B. In the same vein as the Shure SM7, the Sennheiser 441 is nice because it has a switchable presence hump and 5-position bass rolloff.

KENNY KRUPNICK · From: Grove City,Ohio

AKG C3000B

David L. Donald · From: Koh Samui Island, Thailand

Sorry Kenny. The AKG C3000B is by far my least favorite mic ibn my collection.

Andbody using the AEA remake of the classic RCA 44 ribbon mics.
A wonderful sounding mic even if you must indenture the children for 10 years to buy one. I really love this mic when I heard it.
Not just the retro looks, but it has a 'SOUND".
http://www.wesdooley.com/

Wes is an old aquantance of mine and has created a great mic in a classic form.

Image from Wes's site

[This message was edited by David L. Donald on 16 April 2004 at 04:25 AM.]

Jussi Huhtakangas · From: Helsinki, Finland

I love these ribbon mics, I have the old Altec 639. Haven't had a chance to use it in the studio yet, but will soon. It works great as a stage mic too, more ruggedly built than the RCA's and sounds very warm and huge. My brother in law has two old Shure ribbon mics, which sound great too.

Bill Hatcher · From: Atlanta Ga. USA

I have the original RCA44Bx ribbon and it sounds amazing on anything you put it on. For loud cabinets I like the SM7.

Bill Carpenter · From: Liberty Hill, Texas, USA

Tony has the right idea for most of us who don't access to the high dollar mics. Mic the amp with a sure Sm 57 or 58 or somethibng comparable then place a condenser mic in the room to fatten the sound. Be careful with this condenser mic. If placed too close it defeats the purpose, but if it is place to far away you can have phase cancelation problems. It just depends on the room. Usually 6 to 10 feet away from the amp will work. When you play back the recording and begin to blend tthe two mics you will know if you have a phase cancellation problem because as you blend in the room mic the volume actuall get lower and thinner sounding. Not Good. Move the room mic a little closer and try it again.

Dave Van Allen · From: Doylestown, PA , US , Earth

James Quackenbush · From: Pomona, New York, USA

The AEA R84 ribbon does a great job for a bit less $$ than the Royer ....SWWEEEEEEEEET !!

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