Best chain for solo acoustic guitar? - mics and pres

[jrothmusic]

I've got a modest PT-LE set up in my home studio and am looking to upgrade a couple pieces of gear in preparation of recording a solo acoustic fingerstyle guitar album. Any suggestions on a mic (LDC, tube), 2 channel pres or a combination of both, keeping it all under $2000?

Here's what I use now:
Apogee mini-me Pre
Rode NT5 - pair
AT3035

I'm looking for a really full yet detailed guitar sound...this is not folk guitar or gritty blues...I'm talking fat low end, percussive playing and subtle harmonic nuances.

I've been pretty pleased with the NT5s (for the price) paired with the Apogee, but I'm ready to get something that will really reveal what I've been living without when compared side by side. I've read nothing but good reviews of the Apogee, so maybe that is still a good enough pre at this point considering my budget, but I'm open to ideas. I just want to put my money in the right place to get a noticeable difference in the upgrade. Any suggestions would be helpful. What have you used that has made a significant difference to your ears for acoustic guitar? Remember...I'm trying to keep everything under $2000.

Many thanks,
Justin

[losthighway]

In my studio I use Great River, API, and Sytek pres. They are varying prices, and all sound different. I have also gotten great guitar sounds with all of them. There really is no magic bullet.

In fact, as far as mic choice, I've seen more diversity in preference on mics for acoustic guitar on this board than about any other instrument. Probably cause they're tricky little devils.

[getreel]

I've had good luck with my original NT1 and Great River or EH 12AY7 pres. Also SM7 will sound really good on percussive stuff and great low end. Love that mic on so many things. I usually pair it with the Great River or Germanium pre.

[A.David.MacKinnon]

The best solo acoustic sound I've gotten lately was a U87 on the 12th fret of the guitar and a pair of Octava 219s in XY as room mics (about 10 feet back). We used the board pres (Amek Angela) and an 1176 on the 87.
A good chunk of the sound was due to the room. It's a medium sized room with lino floors and wood on all the walls and the ceiling. It sounded really great. I'd pay as much attention to finding a good room as you are paying looking for a good chain.

[dgrieser]

These days I'm liking a KM84 8-12" from the neck/body joint and a Shinybox ribbon with Lundahl transformer about 18-24" out from the picking hand through my Apogee Duet. This is for mandolin and mandola, but I'm thinking this combination would sound really good on guitar too. I mainly use the KM84 and just a bit of the ribbon for added depth, woodiness/body, room.

[JWL]

In my experience the room you are recording in, and engineering technique (where the player/mics are positioned) make a far bigger difference than switching pres or converters.

Switching up mics can make a big difference obviously, but spend time listening to the room you are in. Personally I use movable acoustic panels (often one of my PVBs) to adjust the liveness of the recordings.

[Professor T]

I'd agree that the room should sound really good. I've had some good results incorporating my MXL R144 ribbon mics. I've used them in mid-side and blumlein setups. If I was serious about it, I'd also experiment with a reflective piece of wood on the floor between me and the mic.

[Recycled_Brains]

Hamptone HVTP-2 + Josephson C42 matched pair

I have gotten excellent results with this combination many times.

I think they compliment each other well. The Hamptone really beefs up the bottom, while the Josephsons have a nice high frequency emphasis that gives you a very detailed, crisp, and clear representation of the instrument.

As others have said, the recording environment will play a big roll in how things turn out as well. Might be worth snagging a couple 4'x2'x4" bass traps and some packing blankets that you can then move around the room.

[The Scum]

Martin?

Ovation?

Alvarez?

Guild?

I'd approach each differently.

[losthighway]

Martin?

Ovation?

Alvarez?

Guild?

I'd approach each differently.

I approach an Ovation with a hatchet. Too bad the plastic parts make such bad kindling.

[Nick Sevilla]

If no one has mentioned it yet:

M-S for solo acoustic guitar is like heaven.

So, if you can, try to get your hands on a microphone that does figure-8 pattern.

As to mic preamplifier, you want the cleanest one you can get your hands on.

If money was no object :

Ed Hardy mic preamps.

[Sean Sullivan]

If money was no object :

Ed Hardy mic preamps.

Clothes, watches, perfume, hand sanitizer...what doesn't that guy make?

I'm sure you meant John Hardy. They are pretty killer on acoustic sources.

[ampguy]

the recorded sound is all in the fingers and playing.

Just put a LDC about 10" away and tune it with headphones moving from soundhole towards 7th fret or so.

[CedarSound]

I approach an Ovation with a hatchet. Too bad the plastic parts make such bad kindling. Smile

Man, it's nice to see I'm not the only one who hates those guitars... they have always sounded so crappy to me. To each their own, I guess...

[KennyLusk]

Some may think this isn't such a good idea but it works for me. I use a ZED14 because the pre's are so fantastic (IMO) and the EQ is very useable, even in OTB mixing app's. The pre's are really fast and clean with just a hint of silk; my AT mics love it as do my 012's. The board also extends options for reamping.

With 6 pre's I also have options for room mic's when necessary or added dimension. The board is only $400.

Michael Joly's MSP6 pkg. at $879 is a good deal and will retain it's value. For solo acoustic IMO it's nice to have multi-patterns and omni is something you really want when considering mono mic'ing for some tracks.

That still leaves you room for a pair of Pro37's or whatever else you might consider by way of additional mic's. It also leaves you room to snag a cool compressor and I really like the pro vla (or vla II) on AC guitars. Plus some yummy NOS tubes to roll in for variable voicing. YMMV.

The leftover $$ could also be spent on plugs and/or "mastering" suite.

I agree with at least 2 of the other posters that a decent section of plyboard is great between you and the mic or on the floor under your chair. You'd be surprised how mich of a difference this little trick can make in a small hallway in your house/home tracking space. Creates some very cool early reflections.