All in Recording

Capturing the Essence: A Deep Dive into the TUL G12 Microphone for Guitar Amps

As a dedicated studio rat, I've spent countless hours composing and recording various music genres. Yet, one persistent challenge has been the limited microphone options that genuinely capture the natural sound when directed towards the center of the cone nearby.

My dissatisfaction extends to miking guitar amps on gigs. While some choices, like the long-standing favorite Shure SM57, have their merits, they always produce a harsh sound that I find myself battling within the mix.

The Shure SM57 has maintained its popularity for decades, and good reason. Its affordability, ease of replacement, and ability to handle high sound pressure levels, such as those produced by high-wattage guitar amps, make it a practical choice. For instance, a Marshall non-master volume 100watt amp at full blast is too loud for a ribbon mic placed close to the speaker, but the Shure SM57 can withstand this level of intensity.

But the SM57 can sound harsh and brittle. I fight with its sound every time I use it, as it doesn't sound like how I hear the amp in the room. I always wish I could find a mic that wouldn't make me rush to an EQ in a state of emergency.

Crafting Clarity: Shaping Sound with the FabFilter Pro-Q EQ Plugin

Incorporating an EQ into your setup is not just a suggestion; it's necessary for a seamless recording experience.

We use an EQ in several ways, including troubleshooting problem frequencies, tone shaping, filtering, and special effects.

The EQ is at the heart of your mixing and sound sculpting process, followed by a compressor and time-based effects. While other tools may be enticing, the first steps almost always involve EQ and compression.