Help recording acoustic guitar.
-
- audio school
- Posts: 4
- Joined: Mon Feb 12, 2007 11:27 pm
- Contact:
Help recording acoustic guitar.
Hi, I run a small home studio (I have recorded 4 or 5 bands, so i'm sort of just starting out, but I have had really great results so far as well as happy clients) anyway, I'm having trouble recording acoustic guitar for myself. I have been using a small diaphragm condenser and I have been getting a huge, boomy low end--way too huge. When I try and move the mic up the fret-board a bit, it thins out, but then I start picking up all sorts of room noise, including my own breathing as I have to up the volume because the noise from the guitar is no longer loud enough.
In general I have been placing the mic about 8 inches away from the guitar at or near the 14th fret. Does anyone have any recommendations about how I can go about this, or any other mic recommendations? I would preferably like a really rich, warm tone, as acoustic guitar is often the only instrument I use. Any advice is appreciated. Thanks.
In general I have been placing the mic about 8 inches away from the guitar at or near the 14th fret. Does anyone have any recommendations about how I can go about this, or any other mic recommendations? I would preferably like a really rich, warm tone, as acoustic guitar is often the only instrument I use. Any advice is appreciated. Thanks.
- losthighway
- resurrected
- Posts: 2351
- Joined: Mon Apr 14, 2008 8:02 pm
- Contact:
You might need to fill us is what that BBC technique is, Anglophile.
The think I always keep in mind with acoustic guitar, is there are a few starting points and then any motion can give you millions of shades of gray. Move it two inches and it will sound different. I usually see how much distance I can get while keeping the sound immediate, stretching the 1 1/2' starting point out another foot can bring consistency lower the boom and smooth things out.
The other thing I found is between the sound-hole bass overload and the 12th fret mandolin thinness, there is this great spot just east of the soundhole. You go a tiny bit further towards the fret board and get it thinner or a little bit closer to the sound hole for more body. It has worked better for me lately.
You guys prefer an SDC in omni or cardioid. I tried a tune in omni the other day and switched to cardioid seemed a lot more focused, better presence.
The think I always keep in mind with acoustic guitar, is there are a few starting points and then any motion can give you millions of shades of gray. Move it two inches and it will sound different. I usually see how much distance I can get while keeping the sound immediate, stretching the 1 1/2' starting point out another foot can bring consistency lower the boom and smooth things out.
The other thing I found is between the sound-hole bass overload and the 12th fret mandolin thinness, there is this great spot just east of the soundhole. You go a tiny bit further towards the fret board and get it thinner or a little bit closer to the sound hole for more body. It has worked better for me lately.
You guys prefer an SDC in omni or cardioid. I tried a tune in omni the other day and switched to cardioid seemed a lot more focused, better presence.
when i am referring to a Decca tree, does that make me an Anglophile as well?losthighway wrote:You might need to fill us is what that BBC technique is, Anglophile.
these are the names of things, get over it.
and i have posted repeatedly what that technique consists of, so UTFSF.
but if the OP wants to know, then i will post it here again.
Last edited by RefD on Fri Sep 05, 2008 7:54 am, edited 3 times in total.
?What need is there to weep over parts of life? The whole of it calls for tears.? -- Seneca
cardioid mic (dynamic or condenser) at the 12th fret, or thereabouts, a few inches out and shooting across the sound hole toward the bridge.
the result is usually full but not boomy, articulate but not zingy.
the result is usually full but not boomy, articulate but not zingy.
?What need is there to weep over parts of life? The whole of it calls for tears.? -- Seneca
-
- audio school
- Posts: 4
- Joined: Mon Feb 12, 2007 11:27 pm
- Contact:
-
- speech impediment
- Posts: 4270
- Joined: Tue Aug 12, 2003 5:31 pm
- Location: Norman, OK
- Contact:
what are your peaks hitting when you set levels?
You should be able to back the mic off without picking up too much room noise or breathing.... unless you're trying to get the levels as close to 0db as you can, which is not a good idea.
If an acoustic guitar is going to be the focal point of a song, I'll often combine a small diaphragm condenser with a ribbon or LDC. Blend to get just the right mix of boom and presence.
You should be able to back the mic off without picking up too much room noise or breathing.... unless you're trying to get the levels as close to 0db as you can, which is not a good idea.
If an acoustic guitar is going to be the focal point of a song, I'll often combine a small diaphragm condenser with a ribbon or LDC. Blend to get just the right mix of boom and presence.
- curtiswyant
- re-cappin' neve
- Posts: 729
- Joined: Wed Oct 20, 2004 10:08 pm
- Location: Boston
-
- ghost haunting audio students
- Posts: 3490
- Joined: Wed May 07, 2003 11:11 pm
- Location: Saint Paul, MN
Re: Help recording acoustic guitar.
Small diaphragm condensers are generally known more for accuracy than warmth... so you may want to consider using more appropriate tools for what you want. A decent ribbon or LDC might be the ticket.zacktastic wrote:I would preferably like a really rich, warm tone, as acoustic guitar is often the only instrument I use. Any advice is appreciated. Thanks.
Also- if you want "rich and warm", make sure your guitar sounds "rich and warm". You're not going to make a cheap (or even not-so-cheap) overcoated Guitar Center guitar sound that way. String choices are crucial in this too.
One last possibility- an appropriate compressor can help in this situation. The RNLA can fit the bill here, and I'm sure others will recommend their faves.
-
- dead but not forgotten
- Posts: 2037
- Joined: Wed Sep 22, 2004 10:22 am
- Location: Ramah, New Mexico
http://www.guitarplayer.com/pop-up.aspx ... t_id=62610
This is my favorite setup using 4033's and sometimes substitute my Alice mic for one of the 4033's when I want more midrange punch. This configuration sounds so good I sometimes get carried away and track 3 or 4 ensuing instruments with the same mics and config. Hey, if it works, it works, right?
This is my favorite setup using 4033's and sometimes substitute my Alice mic for one of the 4033's when I want more midrange punch. This configuration sounds so good I sometimes get carried away and track 3 or 4 ensuing instruments with the same mics and config. Hey, if it works, it works, right?
"The mushroom states its own position very clearly. It says, "I require the nervous system of a mammal. Do you have one handy?" Terrence McKenna
- losthighway
- resurrected
- Posts: 2351
- Joined: Mon Apr 14, 2008 8:02 pm
- Contact:
Sorry, I was being playful. Came off as hostile. But think, how many times have you had to ward off accusations of anglophilia?RefD wrote:when i am referring to a Decca tree, does that make me an Anglophile as well?losthighway wrote:You might need to fill us is what that BBC technique is, Anglophile.
these are the names of things, get over it.
and i have posted repeatedly what that technique consists of, so UTFSF.
but if the OP wants to know, then i will post it here again.
That technique is useful. I just didn't know that it was called the 'bbc' technique. What is the UTFSF technique?
- losthighway
- resurrected
- Posts: 2351
- Joined: Mon Apr 14, 2008 8:02 pm
- Contact:
Who is online
Users browsing this forum: No registered users and 149 guests