
You can get a surprising amount of tonal variety simply by getting creative with mic placement.
This month, we're going to look at an underused recording technique that can add depth and dimension to your guitar tone. This technique involves two mics: placing one in front of your open-back combo amp or open-back speaker cabinet (like normal) and one behind. A closed-back cabinet (like a 4x12) won't work for this technique, for obvious reasons. This may seem counterintuitive, but, as you'll see, this technique can be very useful—especially when trying to get a more full-bodied sound from a smaller, single-speaker, low-wattage combo amp like a Fender Princeton, Blues Junior, Champ, etc. The Dojo is now open. Let's get started.
Let's talk about the mics first. This technique is extremely flexible and doesn't require that your mics be a matched pair (same make and model). In fact, I've had better results by mixing and matching all kinds of mics! I highly encourage you to experiment and be creative. For this example, I'm going to use a dynamic mic (Shure SM57, $109 street) and a ribbon mic (Rode NTR, $799 street), but, again, any two mics will work regardless of price.
This technique is extremely flexible and doesn't require that your mics be a matched pair.
Mic 1: Shure SM57.
Of the two mics, the mic you use for the front of your amp should be the one you normally use and are most familiar with when recording (Photo 1). This way, you'll be able to have a point of reference as we move forward. After you've gone through this a couple of times, then switch it up, swap mics, and compare the differences.
Mic 2: Rode NTR.
Before placing the rear mic, there is something of critical importance you must do: flip the phase on the recording channel for mic 2. Because this rear microphone is pointed in the opposite direction, it is 180 degrees out of phase relative to mic 1 (Photo 2). We must correct that by flipping the phase on mic 2's mic pre or recording channel. If you don't, when you pull up both mic 1 and mic 2 and listen to them together, you'll find that your guitar tone will sound thin, hollow, and weak—which defeats the whole point of this technique!
Photo 2
I'll explain why this happens in the simplest way I can. When sound waves hit the diaphragm of a microphone (which is a transducer), those waves are converted into a tiny electrical signal with alternating positive and negative charges. When using two microphones pointed in opposite directions with the sound source (your amp's speaker) in the middle, mic 1 will receive a positive (+) charge while mic 2 will receive a negative (-) charge (Fig.1). This is because your amp's speaker can only move in one direction at a time, and it can't send a positive value in both directions simultaneously. This is what causes the phasing issue and why we need to flip the phase of mic 2 so that both mics add their energy together rather than subtracting from each other. Further, if you forget to flip the phase and just listen to only a single mic (mic 1 or mic 2 only), you won't hear the phase issue, but if you listen to both at the same time you will! So … flip the phase.
Fig. 1
Finally, where to place mic 2? There's not a right answer here, because there are too many variables: the dimensions of the amp itself, how open the back is, where the speaker is located (center, off to the left or right), etc. But I've consistently had good luck with placing the mic outside of the amp in the open space about four to six inches away from the back panel of the amp (Photo 3).
Photo 3
This will give you much more low-end information and beef up your sound. Typically, I'll use an SM57 (or similar) on the front of the amp and a ribbon for the rear, as in this column's example. Ribbon mics naturally have a beautiful low end with significant high-end roll-off the further we go up the frequency spectrum. By placing the darker mic on the back of a small combo amp, I can make it sound like a much bigger amp and get some added mojo as well.
See you next month!
[Updated 8/11/21]
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Crank the heat! PG's John Bohlinger plugs into the boutique-built Sterling Vermin, a modern twist on the iconic Rat distortion. Hear it rip through Strats, Teles, and a Les Paul with classic snarl and smooth silicon/BAT41 clipping.
Sterling Vermin RAT
The Sterling Vermin was born from a desire for something different — something refined, with the soul of a traditional RAT pedal, but with a voice all its own.
Built in small batches and hand-soldered in ACT’s Jackson, Missouri headquarters, the Sterling Vermin is a work of pure beauty that honors the brand legacy while taking a bold step forward for creativity.
The Sterling Vermin features the LM741 Op-Amp and a pair of selectable clipping diodes. Players can toggle between the traditional RAT silicon diode configuration for a punchy, mid-range bite, or the BAT41 option for a smoother, more balanced response. The result is a pedal that’s equally at home delivering snarling distortion or articulate, low-gain overdrive, with a wide, usable tonal range throughout the entire gain spectrum.
The pedal also features CTS pots and oversized knobs for even, responsive control that affords a satisfying smoothness to the rotation, with just the right amount of tension. Additionally, the polished stainless-steel enclosure with laser-annealed graphics showcases the merging of the pedal’s vintage flavor and striking design.
From low-gain tones reminiscent of a Klon or Bluesbreaker, to high-gain settings that flirt with Big Muff territory — yet stay tight and controlled — the Sterling Vermin is a masterclass in dynamic distortion. With premium components, deliberate design and a focus on feel, the Sterling Vermin is more than a pedal, it’s a new chapter for RAT.
The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).