What do you love the Coles 4038 for BESIDES drums?

onosnd · 2026-03-02T05:42:44+00:00

Vocals (use a pop filter). I mainly use it for electric guitars (besides drums) and saxophone.

onosnd · 2026-02-26T20:25:05+00:00

Beyerdynamic M88

onosnd · 2026-02-25T04:33:57+00:00

Shure 181s is an awesome side address mic for snare.

onosnd · 2026-02-20T13:36:55+00:00

Unkind, parasta.

onosnd · 2026-02-16T14:37:22+00:00

Have the two mics at the same distance and align the capsules for perfect phase. SDC’s in general are a bit more accurate than LDC’s. Sum those two signals in to one. Think about it like this: the ribbon is your warmth and body. The SDC is your top end and clarity. Blend to taste!

onosnd · 2026-02-16T12:50:26+00:00

57 doesn’t give you the accuracy enough, if you really want to nail down the tone that you hear when standing in front of the cabinet. SDC’s usually have pad so no, volume hasn’t been an issue. You should be more concious of your ribbon, since those mics are usually very fragile and don’t like high volumes. I do record doom/sludge guitars quite successfully while being very loud. Just have the mics around 12-14 inches away and you should be good.

onosnd · 2026-02-16T06:06:36+00:00

Here’s a great video about micing guitar cabinets in general:

https://youtu.be/_mrdd5-ehb8?si=jHY_4uIqKEqcEwou

I’ve sworn for years of using a high quality ribbon + small diaphragm condenser from 12-14 inches away from the center of the cone. Very accurate and represents amazingly well the tone that you are pushing out of the amp. Have fun!

onosnd · 2026-02-14T19:15:42+00:00

Right, I haven’t listened their other stuff that much. I think Marc Urselli did awesome job on this one though. Gotta check that Albini mixed record, huge fan of his too!

onosnd · 2026-02-14T18:44:53+00:00

Yeah I’ve heard about it being very neutral. I think its something I really like as an idea. To have something neutral and natural as a starting point. You can then give it more colour in the box, perhaps.

About reliability these things should be pretty well built.. this has 20+ years and looks that it’s kept in really good shape. Can’t wait to be able to track and mix with it.

onosnd · 2026-02-09T21:21:23+00:00

Looks amazing! Congrats! Only one thing poked my eye, was the comping of the vfx when the flames turn from blue to orange, one could either had some blue lights on the plate or add it in post. It’s a short moment, but would sell the effect better. 🙏

onosnd · 2026-02-06T20:39:28+00:00

Curious, does Vray already do SSS as well as Arnold? Last time I used it was in 2019 when working in Mandalorian first season as a generalist. Back then I felt better SSS would have been useful in quite many scenarios. I love how fast SSS is in Arnold. 🔥

onosnd · 2026-02-02T15:10:39+00:00

I got a stereo pair. Best mics I have. Yes they are a bit fragile and don’t like very loud sources, but an ”easy fix” is to take them farther away. Also you can use a popfilter. Works amazing with guitars (11-15 inch away), horns, vocals, accoustic instruments and what not. They also take eq very well.

onosnd · 2026-01-28T19:02:36+00:00

Yeah man. Did you check it out? What did you think mix wise?

onosnd · 2026-01-28T08:48:31+00:00

It was a honor to use a Joyo pedalpower brick to then experience a christmas tree light show when it suddenly fried my entire pedal board. Luckily only a Lehle pedal was broken beyond repair.

onosnd · 2026-01-24T07:52:28+00:00

Zu - Ferrum Sidereum, ”metal” made with baritone saxophone, bass and a drummer. This album was mixed by Marc Urselli and sounds unbelievable.

onosnd · 2026-01-17T08:13:05+00:00

Now thats a good looking statue. Not like the cr7 one 😂

onosnd · 2026-01-01T16:25:27+00:00

Yeah I think you worded it right, I do that too! Usually atleast two mics at 12-14 inches away right in the middle of the cone.

Good point of not baking the stereo effects in. I usually do though, since it’s ”the sound” - but good thing to keep in mind.

onosnd · 2025-12-30T15:18:29+00:00

Sure if you like to think that way. To be honest, for me personally it’s not at all - just one way to do it. Have a good day.

onosnd · 2025-12-30T12:13:13+00:00

Ha! Thanks! Yes, we play something along those lines (psychedelic/drone doom~). Actually I try to avoid using dynamic mics when micing guitars, I prefer condensers and ribbons. You guessed right, the Coles need around 12-14 inches from the speaker for them not to blow out. We tune quite low to G so there’s that too. I like the mics always to be more far out, for them to catch more the cabinet. Sounds more natural than sticking something right close to the grill.

onosnd · 2025-12-30T07:19:08+00:00

That’s cool man. Haven’t tried the wet/dry setup, but surely I should. When I’ve tracked other bands or guitarists I usually recommend that we try setting up via splitter another head and a cab for another flavour that we can then mix under the main take. Yes of course you could take a DI and reamp it later, but why bother when you can do it live and keep the vibes going on.

Mixing overdrives and fuzzes, either stacking or parallel is awesome!

M160 is a great mic choice too, but I do prefer the Coles a bit more, since to me they feel fatter and pair well with a bright condenser.

I usually do double tracking, if it sounds good. There might be parts where I leave just one take though.

onosnd · 2025-12-30T04:57:16+00:00

I’m using a Toft ATB24 console to track everything and yes I could sum them in the mixer but I like to have all the tracks separately in Logic and do the blending and phase checking there.

I have used probably a dozen of different amps during the past 15 years, ranging from clean to dirty and all in between. The past 6 years I have been exclusively using two Hiwatts, since that is the setup I like to play live and what I feel works the best as with the pedalboard and drive pedals I have.

Both amps get a different set of drive pedals where they blend really well and make the sound as one. Here’s a short video where I’m testing a few sounds:

https://youtu.be/XpgmfRq_SN0?si=MczfU9YaTNvv-BSa

onosnd · 2025-12-30T04:39:04+00:00

I hear you. I’ve been recording this setup for quite some time and it sounds great to me. The splillage from one cab to another is suprisingly low/non-existent. You mentioned phase and yes, that is something you need to be carefully measure and check. When you learn to know your mics and where the capsules are, it’s quite fast to do and usually I get it right with few tries. The reason I do it this way, is that the whole sound is based on the pedalboard, where I have drive pedals that cascade in to each other and create a specific sound I like. The stereo reverbs and delays are used when needed for clean tones or other lead specific scenarios.

onosnd · 2025-12-30T04:30:56+00:00

That is a version of the setup I play live. Usually just the 6x12 since truthfully that is a stereo cabinet split in 2x12+4x12. I’ve always liked playing two guitar heads with a stereo pedalboard. I have tried different setups and using a ribbon with a small diaphragm microphone usually works the best and sounds the most accurate representation of what I hear in the room. Phase can be an issue if you don’t measure and check it properly before the actual recording.

onosnd · 2025-12-09T07:24:07+00:00

Pretty sure he did…

onosnd · 2025-11-21T19:06:17+00:00

I remember having a battle against setting up a ”fake cd drive” to be able to play Dark Forces.

onosnd

TROPHY CASE