Typical SPL of close mic'ing?

I know, in general, you can't use a condenser mic for close micing a guitar amp because of the SPLs. I am looking at getting an AT2050, not specifically for close micing but thought I could use it for that. It seems like people do use it for that as it can handle up to 159db SPL.

Is this enough?

I know it depends on how loud the amp is. I run my V3 head in 50W mode but do not crank it all the way up but have no idea what SPL this is at the speaker.

Any thoughts?

BTW I know I can go out and get an SM57 for this (and someday I might) but I wanted a figure 8 mic and wondered if I could use it for this application also.

Thanks

A jet taking off (and close) is 140dB in which case you be deaf, while the microphone was fine (of those mics that can handle that). If you are getting over 120dB which I doubt since that is the volume of a loud rock band (close) then you be getting deaf. A symphony plays at about 105dB for an orchestra up close. If you run over 85dB in your house which is about normal, your neighbors are probably wanting to dispose of your stereo especially if getting to 100dB (if neighbors are close or an apartment). If loud bass especially in car like some are, then they are probably going over 50ft. and against the law anymore. So I doubt if you are getting over 130dB close mic-ing anything and you probably be deaf in the room you were in if going that loud.

If you're putting out 100dB at 1m from your amp, you'll need to move the mic to 1mm from the speaker to get 160dB :)

Typical close micing is hardly likely to get any close than an inch to the speaker, and at that you're getting 132 dB.

So I think you'll be fine!

By the sounds of it you might be worth looking up a good article on micing guitar amps. You can benefit a lot by learning what equipment you need to get the results you want before going out and buying everything that every guy on a forum recommends. Save you lots of money.


For example, why exactly do you want a figure 8 mic? M/S recording would be one reason (but you you need a second mic, preferably another 2050 set to cardiod). Also you might be recording in a nice room and want some extra back ground ambience (not likely in a home studio). You are recording two singers at once and have only one mic (singer on either side) etc. The omni setting on that mic can be useful too, but typically more in a decent room environment. Just some things to think about. Unless you're loaded with cash, make sure you're not getting more than you may actually use. Always good to save some money if you can!

I personally have a pair of Rode K2 mics with selectable polar patterns. I experimented with M/S. It was fun. But I don't really image it being useful typically in real world applications for my music (may certainly suit other people). Thus, I expect to rarely take it out of cardiod. I chose the mics for the sound anyway, but if I could have had a fixed cardiod pair with the same sound, I probably would have saved some cash and taken that option.

Maybe consider the 2035 or even the old 2020 if you want to save some cash and don't feel you'll use selectable polar patterns.

There aren't many modern condenser mics that you could physically damage with a guitar amp. Not without trying really hard, anyway. If you're getting more than 120db at the speaker, it's not your microphone you should be worried about, but your ears. 

Regarding that calculator that drewfx1 linked to: Note that it's for free field or anechoic conditions. Doesn't work for real-world rooms. Sound doesn't fall off as much in real rooms.