There was a thread on recording electric guitars in the amp section of the Forum that I thought was pretty interesting, and I thought, "Why not start a thread for acoustic guitar recording as well?"
I thought I'd start the discussion by sharing a philosophy of recording, and then offer a few tips. But I hope that others join in with their experiences, too.
I think of the recording process as context-dependent, and therefore there aren't hard and fast rules. Instead, each project has a set of goals, and the techniques that work for one project don't necessarily translate to other projects. I'm also open to learning from anyone who has a good idea that has worked for them, so from time to time my own methods and preferences change.
Recording is a plastic medium, in the sense that you can do whatever you want with it. Sound can be shaped by microphones, mic placement, pre amplification, effects, the room, and a zillion other factors. So the question is, where you do want to go?
1. My Favorite "I Want My Recording To Sound Like The Guitar Does In The Room" Method:
While ribbon mics (and especially some very inexpensive ones that have flooded in from overseas) often have tended to be a little dark, in the last decade or so we've also seen some outstanding sounding ribbons with a very good high frequency response.
A good, modern sounding ribbon mic works hand in glove with the guitar to create a very natural sound for a couple of reasons: First, modern ribbons are very fast mics. The transient response beats even a condenser because the ribbons are so physically light weight. As a result, they sound very detailed, and the high frequencies are reproduced very naturally, the way our ears hear. Second, ribbon mics are figure eight mics. They not only pick up what they're aimed at, they also pick up the sound at the rear of the mic, namely, the sound of the room. This contributes to their very natural sound.
With proper placement, a ribbon mic doesn't sound too woofy because of proximity effect, and there's usually a spot you can find where the sound is spot-on. I tend to record an acoustic guitar with a ribbon a little further back than I might with most condensers, to avoid proximity effect and air blasts from the soundhole, but that's also where things come into focus on my ribbon. For the ultimate in realism, try a stereo pair using good stereo technique. You'll be pleasantly surprised.
Either mono or stereo, what you notice with a ribbon is naturalness. The high end isn't hyped or compressed sounding, and if you have good technique and a good mic, you're really going to get that elusive "this is how my guitar really sounds" thing happening.
This isn't the only way to get that natural sound, and there are some fine condensers that will also do it, but it's been a consistent winner for me. A good preamp that doesn't make noise is a must unless you have one of the new phantom powered ribbons, because ribbons are low output microphones, and you have to turn the preamp gain up higher than you would with other mics. So if the preamp makes noise, you're going to be frustrated.
2. "I Want That Crisp Major Label Sound."
I won't get into mic preamps here, because that's a whole subject in and of itself, and bluntly, the mic is far more important in the signal chain than a preamp, since it's doing the transducing between the sound pressure and creating an electrical signal.
Nothing gives you that crisp, shimmery sound that isn't quite natural like the guitar in the room, but you've heard it on countless records "thing" like a stereo pair of good condenser mics. One thing to understand is the inherent design limitations of large diaphragm condensers vs small diaphragm condensers, and here the choice of which to use depends on what you want to accomplish.
A large diaphragm condenser (LDC) is inherently a less accurate microphone than an a small diaphragm one (SDC). In fact, test microphones have tiny diaphragms to be more accurate. The reason has to do with resonances with large diaphragm mics that color the sound. The smaller the diaphragm of a condenser, the higher the frequency of the resonances, and high frequency resonances are easier to deal with in the acoustic and electronic design of the mic than low frequency ones.
If you've ever cut a female vocalist with some LDCs, and you found yourself dialing out low mids around 300-400 Hz to get a more natural, less "chesty" sound (no jokes here please
), you've just dealt with a typical resonance of an LDC.
This makes them good for some sources, and not good for others. However, the fact that an LDC has more coloration doesn't mean that an SDC is automatically a better choice, due to the same factors that work with vocals and mic choices - the instrument, the room you're recording in, and the desired effect you want to achieve. For a nice, chunky sound, it's hard to beat an AKG 414 or similar mic. I like the Neumann TL102 a lot on acoustic guitar, also the underrated Gefell 930. But there are plenty of mics that do nicely with acoustic guitar. If I want a more accurate representation of an acoustic, DPA, Gefell, etc. make some sweet SDC mics, and I'm looking around at others. Even Oktavas sound pretty good if placed correctly. So does the Blue Dragonfly. I find the Blue Mouse (my favorite mic for vocals) too bright.
3. "I Want Rock And Roll, Man!"
For me, this is where the fun starts, because anyone can get pristine sounds these days. But what if you want an acoustic to sit in a dirty track, and have its vibe increased? Dynamic mics, my friend. And distortion!
You'd be surprised how good a 57 or a 421 (or other good dynamic mics) can sound on acoustic guitar and sit in a mix just right. Forget about how the guitar sounds in the room, you're creating an effect to blend with other tracks!
We're not talking about that shimmery sparkle stuff on top of a classic rock track here. We're talking about a bit of crunch, a grittier acoustic guitar sound. And the mic to use depends on where you want things to blend in the mix. If you want a good midrange chunk, it's
hard to beat the venerable and wonderfully inexpensive Shure SM57, the most useful mic on the planet. It's not perturbed by the air coming out of the soundhole, placement is sometimes easier, and then try this after you record the track: Run an aux send to a distortion box, hardware or software. I like the old Sans Amp in this role, but there are lots of things to try. Then blend the two tracks to taste, the original track channel, and the aux channel. All you need is a tiny bit of the distorted track, just enough to toughen up the guitar sound.
You'll be surprised how cool this can sound in a rock track. The 421 is a more high mid mic, and I find that an acoustic recorded with one sits in a different space in a mix. It leaves more room for the electric guitars, but can be used pretty much the same way.
Finally, mic placement:
Whether you're recording with a condenser, a dynamic or a ribbon, placement is a big deal, and you won't know where you're getting the sound you want until you actually move the damn mic! I usually put on headphones if I'm recording someone else, and literally move the whole mic stand until I find the spot where it sounds best, listening to the mic through the cans. I do this with electric guitar, too.
If I'm playing, and someone else is around, I'll have them move the mic while I listen in the headphones.
If I'm alone, I use a desk chair that has wheels and move the guitar around, AND I get up and fuss with the mic until I'm happy. This isn't a difficult process, it usually takes under a minute, and it's well worth the effort. Don't be a lazy bones! Move that mic!
I hope some of these tips will work for you.
I thought I'd start the discussion by sharing a philosophy of recording, and then offer a few tips. But I hope that others join in with their experiences, too.
I think of the recording process as context-dependent, and therefore there aren't hard and fast rules. Instead, each project has a set of goals, and the techniques that work for one project don't necessarily translate to other projects. I'm also open to learning from anyone who has a good idea that has worked for them, so from time to time my own methods and preferences change.
Recording is a plastic medium, in the sense that you can do whatever you want with it. Sound can be shaped by microphones, mic placement, pre amplification, effects, the room, and a zillion other factors. So the question is, where you do want to go?
1. My Favorite "I Want My Recording To Sound Like The Guitar Does In The Room" Method:
While ribbon mics (and especially some very inexpensive ones that have flooded in from overseas) often have tended to be a little dark, in the last decade or so we've also seen some outstanding sounding ribbons with a very good high frequency response.
A good, modern sounding ribbon mic works hand in glove with the guitar to create a very natural sound for a couple of reasons: First, modern ribbons are very fast mics. The transient response beats even a condenser because the ribbons are so physically light weight. As a result, they sound very detailed, and the high frequencies are reproduced very naturally, the way our ears hear. Second, ribbon mics are figure eight mics. They not only pick up what they're aimed at, they also pick up the sound at the rear of the mic, namely, the sound of the room. This contributes to their very natural sound.
With proper placement, a ribbon mic doesn't sound too woofy because of proximity effect, and there's usually a spot you can find where the sound is spot-on. I tend to record an acoustic guitar with a ribbon a little further back than I might with most condensers, to avoid proximity effect and air blasts from the soundhole, but that's also where things come into focus on my ribbon. For the ultimate in realism, try a stereo pair using good stereo technique. You'll be pleasantly surprised.
Either mono or stereo, what you notice with a ribbon is naturalness. The high end isn't hyped or compressed sounding, and if you have good technique and a good mic, you're really going to get that elusive "this is how my guitar really sounds" thing happening.
This isn't the only way to get that natural sound, and there are some fine condensers that will also do it, but it's been a consistent winner for me. A good preamp that doesn't make noise is a must unless you have one of the new phantom powered ribbons, because ribbons are low output microphones, and you have to turn the preamp gain up higher than you would with other mics. So if the preamp makes noise, you're going to be frustrated.
2. "I Want That Crisp Major Label Sound."
I won't get into mic preamps here, because that's a whole subject in and of itself, and bluntly, the mic is far more important in the signal chain than a preamp, since it's doing the transducing between the sound pressure and creating an electrical signal.
Nothing gives you that crisp, shimmery sound that isn't quite natural like the guitar in the room, but you've heard it on countless records "thing" like a stereo pair of good condenser mics. One thing to understand is the inherent design limitations of large diaphragm condensers vs small diaphragm condensers, and here the choice of which to use depends on what you want to accomplish.
A large diaphragm condenser (LDC) is inherently a less accurate microphone than an a small diaphragm one (SDC). In fact, test microphones have tiny diaphragms to be more accurate. The reason has to do with resonances with large diaphragm mics that color the sound. The smaller the diaphragm of a condenser, the higher the frequency of the resonances, and high frequency resonances are easier to deal with in the acoustic and electronic design of the mic than low frequency ones.
If you've ever cut a female vocalist with some LDCs, and you found yourself dialing out low mids around 300-400 Hz to get a more natural, less "chesty" sound (no jokes here please
), you've just dealt with a typical resonance of an LDC.This makes them good for some sources, and not good for others. However, the fact that an LDC has more coloration doesn't mean that an SDC is automatically a better choice, due to the same factors that work with vocals and mic choices - the instrument, the room you're recording in, and the desired effect you want to achieve. For a nice, chunky sound, it's hard to beat an AKG 414 or similar mic. I like the Neumann TL102 a lot on acoustic guitar, also the underrated Gefell 930. But there are plenty of mics that do nicely with acoustic guitar. If I want a more accurate representation of an acoustic, DPA, Gefell, etc. make some sweet SDC mics, and I'm looking around at others. Even Oktavas sound pretty good if placed correctly. So does the Blue Dragonfly. I find the Blue Mouse (my favorite mic for vocals) too bright.
3. "I Want Rock And Roll, Man!"
For me, this is where the fun starts, because anyone can get pristine sounds these days. But what if you want an acoustic to sit in a dirty track, and have its vibe increased? Dynamic mics, my friend. And distortion!
You'd be surprised how good a 57 or a 421 (or other good dynamic mics) can sound on acoustic guitar and sit in a mix just right. Forget about how the guitar sounds in the room, you're creating an effect to blend with other tracks!
We're not talking about that shimmery sparkle stuff on top of a classic rock track here. We're talking about a bit of crunch, a grittier acoustic guitar sound. And the mic to use depends on where you want things to blend in the mix. If you want a good midrange chunk, it's
hard to beat the venerable and wonderfully inexpensive Shure SM57, the most useful mic on the planet. It's not perturbed by the air coming out of the soundhole, placement is sometimes easier, and then try this after you record the track: Run an aux send to a distortion box, hardware or software. I like the old Sans Amp in this role, but there are lots of things to try. Then blend the two tracks to taste, the original track channel, and the aux channel. All you need is a tiny bit of the distorted track, just enough to toughen up the guitar sound.
You'll be surprised how cool this can sound in a rock track. The 421 is a more high mid mic, and I find that an acoustic recorded with one sits in a different space in a mix. It leaves more room for the electric guitars, but can be used pretty much the same way.
Finally, mic placement:
Whether you're recording with a condenser, a dynamic or a ribbon, placement is a big deal, and you won't know where you're getting the sound you want until you actually move the damn mic! I usually put on headphones if I'm recording someone else, and literally move the whole mic stand until I find the spot where it sounds best, listening to the mic through the cans. I do this with electric guitar, too.
If I'm playing, and someone else is around, I'll have them move the mic while I listen in the headphones.
If I'm alone, I use a desk chair that has wheels and move the guitar around, AND I get up and fuss with the mic until I'm happy. This isn't a difficult process, it usually takes under a minute, and it's well worth the effort. Don't be a lazy bones! Move that mic!
I hope some of these tips will work for you.
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