VelvetGeorge wrote:With 100 watts, just open the door and throw a 57 on the floor, then run for cover!
![Razz :P](./images/smilies/icon_razz.gif)
I like the way you think! Reminds me of my first gig as a studio intern at New River in South FL. Yngwie was label-less and in the studio to record a demo. I was in with the 2nd engineer miking up a line of about 6 Marshall bottoms (57s about a foot away and off axis)—while yngwie warmed up at face-melting volumes...don't even think I had ear plugs.
![Shocked :shock:](./images/smilies/icon_eek.gif)
I remember from audio school "Your ear is a transducer...stick your head in front of the speakers...find the sweet one, then find the speaker's sweet spot." Mmmmmm kaaaay.
![Wink :wink:](./images/smilies/icon_wink.gif)
We also had a pair of U-87s way back and up high for room mics.
Back on topic, just experiment, that's the fun of it. For close-miking, find the sweet-sounding speaker, do what Mark suggested, put headphones on, start at the speaker bell and move towards the outer cone. Try it again, further back from the cab 6-12", angle it 45 degrees to the cone, etc. Make some recording tests while you move it around. If you've got mixed speakers w/different characteristics, mic each and balance them in Reaper. Go lo-fi and mic the cab from further back in the room. Lots of stuff you can do without reverting to "Let's record the amp as close as possible, then add all the reverb, etc. in the DAW." This is why Zep records/songs always sound different from track to track and album to album...miking techniques and using the space. If you listen to albums today...it's like someone stuck one mic in front of a cab and called it a day. Also, you'll find that sometimes a solo guitar sound that sounds great by itself may sound like ass in a mix so you may have to adjust your miking accordingly. If you're just recording solo guitar noodling, it's not as much of an issue.