Moshkiae
Hi,
Unless a guitar player was using effects silly, and multi layering things, like Manuel Gottsching has been doing for 35 years on guitar, I doubt that most folks with a guitar would need that much!
No guitarist
needs that much. I remember talking with Walter Trout about Stevie Ray Vaughn and he remembers when Stevie started all he used was just a single Fender Twin. Then (at that time) he was combining about ten different amps together but, in Walter's opinion, he still sounded just the same.
There are a few reasons to have multiple cabs mic'ed. One is if you run a wet/dry system where the effects come out of one set of cabs while the uneffected signal comes out a different set. Another (which I like to do since I handle the wet/dry level in my G-Force), is to dual-amp where one amp is set cleaner and the other handles the distorted tones (this was how Alex Lifeson from Rush was able to get such wonderfully defined "thick" sounds). A third reason is far more practical. You mic a couple of speakers in case one blows. A fourth option happens when you have cabs loaded with different speakers (my 2x12 is currently loaded with a Vintage 30 and a G12H30 70th Year Anniversary Special for example). Finally, at large concerts, there's usually a backup amp that's not plugged in but there in case something happens to the primary amp.
So, if you were a complete guitar freak, I suppose the following scenario is possible:
- You have both both a primary and a backup system wired up (two outputs per)
- You run a dual-amp system (two outputs per)
- Each amp has its own wet/dry channels (two outputs per)
- Each 4x12 cab is loaded with two types of speakers (two outputs per)
- You mic both speakers of each type just in case one blows (two outputs per).
So now you have 2 * 2 * 2 * 2 * 2 (or 2^5) which comes to 32 mic'ed speakers! Pretty wild yet that top picture has more than 16 speakers mic'ed so there you go!
Oooo... I just thought of three more reasons for multiple mics. The first is that there are multiple locations for the mic (close - touching the screen, near - a few inches away, far - up to several feet away). The second is for multiple directions that the mic can point (direct to the cab, at an angle, 90 degrees away from the screen). The third is having different types of mics (bands like Plankton use both a dynamic mic with a ribbon mic).
I'll leave it up to someone else to figure out all those permutations.