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.

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.

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.]

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.]

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.

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.

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.]

quote:

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I wonder what mic you guys find the best for a steel in a recording studio.

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Why, all of them!