Recording a good sound. Yes, recording a good sound means having a good source to begin with. The guitar should be set up adequately for the sound. For example, if we are after a clean, bright sound then an excellent guitar with new strings, no rattling heads and the action set up with no fret buzz is esential. A good player is also recommended. If we are after a dirty, loose sound then older strings and a cheaper guitar may be the ticket. Microphone selection and placement is also a factor. Dynamic microphones have less presence and react slower to transients due to the moving coil design so may be a better choice for a grungy playing style while condenser microphones usually have an extended top end and are able to capture transients better.
A tight, close sound can be accomplished by pointing a small diaphragm cardioid condenser down toward the 14th fret about 10 to 20cm away. A deep, spacious sound can be achieved by placing an omnidirectional condenser away near the corner of a room to collect the bass frequencies.
Sound 1 used an SM57 to capture a grungy style of playing.
Sound 2 used a spaced pair to capture the sound in stereo. I donned headphones, and while listening to both microphones, moved the top one around until I got it in phase as best I could while listening for the “right piece of air.” [1]
Sound 3 used an MS technique. I’ve automated the Side mic to go from mono to stereo. The mid mic may look a little strange how it is situated, but it is set to omni.
A tight, close sound can be accomplished by pointing a small diaphragm cardioid condenser down toward the 14th fret about 10 to 20cm away. A deep, spacious sound can be achieved by placing an omnidirectional condenser away near the corner of a room to collect the bass frequencies.
Sound 1 used an SM57 to capture a grungy style of playing.
Sound 2 used a spaced pair to capture the sound in stereo. I donned headphones, and while listening to both microphones, moved the top one around until I got it in phase as best I could while listening for the “right piece of air.” [1]
Sound 3 used an MS technique. I’ve automated the Side mic to go from mono to stereo. The mid mic may look a little strange how it is situated, but it is set to omni.
Sound 4 was a single KM84 pointed at the bridge. I forgot to get a photo of this one. All the mics seemed to get breathing noise in them. Even the top one in the spaced pair. I'm not sure what else I could've done.
Sound 5 is a recording of one of my songs I did a few months ago in my lounge room. I’ve put this on here because it is a steel string acoustic and is a good contrast to the nylon string guitar. The two guitar tracks were recorded individually with a Rode NT3 with the mic pointing down toward the 14th fret about 10cm away from the fretboard. I couldn’t be bothered digging out the old session so try and imagine it without the artificial reverb.
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Fieldhouse, Steve. 2007. “Audio Arts 1 Seminar - Acoustic Guitar Recording.” Seminar presented at the University of Adelaide, 4 April
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[1] Stavrou, Michael. “Advanced Microphone Techniques.” In Mixing with your mind. Christopher Holder ed. Flux Research. 2003
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