What's your favorite mic for acoustic guitar?

[Scodiddly]

Phase issues....possibly. Phase Nightmare?....that might be a little extreme. Just flip the phase rev. switch on the vocal LDC channel if it's necessary. But what do I know?

Or use a multi pattern LDC in omni on vocals. Poof, no more phase issues.

Wha huh?!?!?

[japmn]

RE: 3 to 1..... the LDC he talked about for vocals has to be 3 to 1 with the XY pair!!

I would go with more of a decca tree style placement fore something like that.

1 Mono LDC... 2 wide spaced LDCs in 3:1

[RefD]

[jckinnick]

Unfortunately I feel like acoustic guitar micing is like vocal micing. There are some mics that are normally better suited, but in the end it comes down to matching the mic to the player, the guitar, the style of music, and the mix. I guess that could really apply to ANY micing, but I feel like that's more the case in same areas than in others.

I've had good results with an AKG C1000S, Earthworks SRO, and SM57s. I think placement is at least as critical (if not moreso) when it comes to acoustic micing. And the type of guitar and tonewoods makes a big difference in final sound and ideal placement.

For me right now I start out somewhere between the soundhole and the 12th fret, and move closer to one or the other depending on how much low end versus articulation I want. Then I like to have the mic farther back if the room sounds good or closer to get rid of room and make the guitar stand out more.

If you have a small diaghram condensor, that should be fine. Play with placement and other things. If you don't, then get one and you'll be able to use it on all kinds of sources. I spent $200 on my C1000s, but it sounds like the Octava MK 012 is a better deal (definitely one of my next mic purchases).

Todd Wilcox

Your right about the placement but thats true with anything you mic. I was so used to just throwing a mic up at the soundhole for so long. Ive been getting a nice crisp sound with a SM57 about a foot below the guitar pointing up at the bridge.

[LeedyGuy]

The other day I was recording a nice jumbo (Guild I think), but jumbos are sort of a pain in the butt to record because there is just so much sound and my room that I use is pretty small. Anyway, I tried the following mics through my PM1000 racked up talkback channels:

Cascade ribbon
012
Oktavamod 2500 tube
Oktavamod 219
57

I liked the way the 012 sounded, but the 57 won hands down for the song which is just straight up 4 on the floor type rock n roll with B3 and overdriven electrics. You get the picture. It sounded kinda crunchy without being overly detailed and was perfect for a rhythm type part that will become the foundation of the mix. Then again, this is jumbo size guitar, so YMMV with a different smaller guitar, right?

-Ken

[river]

river wrote:
Quote:
Phase issues....possibly. Phase Nightmare?....that might be a little extreme. Just flip the phase rev. switch on the vocal LDC channel if it's necessary. But what do I know?



Or use a multi pattern LDC in omni on vocals. Poof, no more phase issues.


Wha huh?!?!?

I retraced to the post about XY and LDC.....can't speak to this specific setup, but I do recall reading an article or forum post about the dilemma of phase issues when tracking acoustic and vocals simutaneously, and the suggestion was made to use omni pattern on vocals. I tried it recently after several previous sessions using cardioid on vocals and dealing with phase problems. I'm sorry that I can't recall the science behind the tactic, but can report that it works.

[VelvetoneStudios]

Even in omni, most of the phasing comes from the player moving his head and guitar during performance. The top end gets pretty funky. This is the most prevelant with the XY and seperate vocal mic. Single gtr mic you get less, but still some. I built a baffle a few years ago that goes between the guitar and the players head, and while this works pretty well, most guys HATE playing in that set up. Someone mentioned a Decca tree. Seems to me that would have to be so far away that it might present problems. ME?? I would D.I. the acoustic and stick a 57 on the vocal and then go back and recut them both seperatly!!

[river]

Even in omni, most of the phasing comes from the player moving his head and guitar during performance.

Can I get an Amen for players with good studio technique? Live and studio are two entirely different beasts. My most recent project involved doing a simultaneous vocal and acoustic, he had outstanding studio technique, and phase never reared it's head to anything resembling a problem. Conversely, I did a project a couple of years ago and the client insisted on using a particular vocalist on several tracks. She could not get away from the live technique of pulling way off mic on hotter phrases despite repeated suggestions to stand in one place and let me do the hard work. We spent so much time for such mediocre results, oy!

[A-Barr]

Sometimes live and studio technique are mutually exclusive.

I recorded this guy a little while ago who just sat there and stared straight down at the shoulder of his guitar with his eyes shut (guess he wasn't really staring, was he?) and didn't move at all. Not too exciting to watch but it worked out perfectly for the recording, allowing me to put a 4047 right between his mouth and the guitar, so the null point of the cardioid pattern ended up covering the guitar just perfectly.

[VelvetoneStudios]

Yeah I love the guys that take huge breaths while tracking acoustic, and the other one's that tap their foot out of time!!

[A-Barr]

Yeah I love the guys that take huge breaths while tracking acoustic, and the other one's that tap their foot out of time!!

Ever listen to Glenn Gould??

...not a guitarist but for such a studio perfectionist, it's amazing to hear so many ghoulish sounds coming from his mouth, sounds like there's a brain-starved zombie lurking behind the piano.

[dsw]

Oscar Peterson too. Grunts like madman.
What is it with piano players and the grunting?

[floid]

the following mics through my PM1000 racked up talkback channels:

how different are the talkback channels from regular? cos i've been digging pm1000s for acoustic meself...

[hairylarry]

Ok, I like to record acoustic guitar a lot. Here's two very inexpensive options that are my favorites.

MSH-1 omni condensors mounted on a Jecklin disc about three feet from the guitar. Great stereo image, quiet, detailed.

Realistic 1070b. mics. I also like the 1070c and 1070d models. These are dynamic omnis made by Shure for Radio Shack. They are EV RE50 clones but they have an extended frequency response so I like them better for recording music than the 635a or RE50 mics.

I prefer these in really close, 6 inches or closer, at the 12th fret and on the wood around the bridge. Bright and detailed, good stereo, Even cheaper than the MSH-1 mics. I paid $30 for my pair on eBay.

I often use a third mic like an SDC over the shoulder for a center channel. I like the MXL 603 or the Audio Technica Pro37 for the third mic.

The 1070b mics are also great for drum overheads and are my secret weapon stereo pair when taping a band. Like the RE50s they are great field recording mics. If I have a windy day I cover them with windscreens and get less windnoise than with cardiods or condensor omnis.

Sound files here.

http://deltaboogie.com/hairylarryland

The Gift was recorded with the MSH-1a mics. For My Dad was recorded with the 1070bs and the SDC center channel.

Thanks,

Hairy Larry

[sonic dogg]

Late to dinner as usual....but, I get the 'best' sound out of the acoustic with the U87 and the 4033 through the ADL600 or, surprisingly so, the ART MPA. These mics also work through the Ghost pres.....

87 is in omni @ 3' slightly above the neck at the 12th fret...the 4033 angled down below the bridge area and out about 2'...This is always the starting point and from there you can compensate for different guitars and their responses as well as the style thats going to be played. When none of this works then its two SM81's in X/Y out in front at the 12th fret.

A thin sounding acoustic will get the SP B3 in the omni position with the 81 over the shoulder. If its a huge sounding guitar with lots of lows , I do the X/Y with a pair of ADK SC-T's. They're very flat and detailed while the 81's are so in-yer-face.

For acoustic 'bed' tracks its always the 4033 all alone. The ability to pinpoint EQ after the fact with these tracks makes it a no-brainer. The 4033 gives a very balanced detail of all the frequencies.

For nylon strings its the 87.