I want to mic up an acoustic guitar (guitar chords only) but I want it clear enough and loud enough so it isn't lost in the mix. The other instruments on the other Mixer channels will be software percussion, vocals, bass guitar and maybe a secondary electric guitar (lead for guitar solos/accompaniment).
I use Fruity Loops and an SSL interface for mic and any electric guitars.
Best way to mic up/record an acoustic guitar so it isn't lost in the mix.
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- KVRist
- 58 posts since 28 Feb, 2023
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- Boss Lovin' DR
- 14312 posts since 15 Mar, 2002 from the grimness of yorkshire
Depends what you're trying to do. Is it picked stuff or strummed? Makes a difference how you'd approach it in terms of effects and eq especially.
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- KVRist
- Topic Starter
- 58 posts since 28 Feb, 2023
Not finger- picking no, it's strumming chords. Thanks.donkey tugger wrote: Sun Jul 28, 2024 9:56 pm Depends what you're trying to do. Is it picked stuff or strummed? Makes a difference how you'd approach it in terms of effects and eq especially.
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- KVRian
- 1146 posts since 20 Oct, 2023
When I do it i record multiple takes with the mic in various positions. So multiple tracks. If you have the money for it, using different mics can also color the sound nicely otherwise use the one mic and EQ is your best friend.
It won't get lost in the mix unless you place the mic too far away from the guitar and solely use that/those take(s) but a good mixer can probably even save that type of recording.
It won't get lost in the mix unless you place the mic too far away from the guitar and solely use that/those take(s) but a good mixer can probably even save that type of recording.
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- KVRAF
- 20661 posts since 22 Nov, 2000 from Southern California
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- KVRAF
- 20661 posts since 22 Nov, 2000 from Southern California
Also, check out Noel Gallagher's crazy right hand technique. Playing close to the bridge like that is sure to keep the strums from getting lost in the mix:
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- Boss Lovin' DR
- 14312 posts since 15 Mar, 2002 from the grimness of yorkshire
In terms of recording there are a lot of ways to go about it, depending on the guitar, your playing style, the mics you have, what you want to do with it etc...this is a good starting guide;
https://www.soundonsound.com/techniques ... itar-sound
..but a lot of it is down to experimentation in placement. In essence it's always a fne balance between overly percussive strumming and too much boominess, but after a bit of messing you can usually find the right spot. I usually start with the small condenser about 6 inches away, pointing at the join between the neck and body, and adjust from there.
Mixing and effects wise, it again depends what the focus is. If the acoustic is the main focus of the song then you'd approach it differently than if you're using it for rhythmic effect..
For the former you'd be trying to keep a more balanced eq and use slow attack and release light compression, with a low ratio, to bring out the detail. Reverb wise I always cut anything below about 500hz (ye olde 'Abbey Road' trick) from the reverb, and for eq a slight cut in the low mids is usually required. If it turns out you've got a bit too much percussive sound then a de-esser/dynamic eq and/or transient shaper can help. For things where the acoustic is the main focus I like to keep it centred with a stereo reverb and then perhaps add left and right overdubs for parts that need emphasis, like this;
https://donkeyt.bandcamp.com/track/enclosed
If you're using the acoustic as much for percussion then you can be a lot more aggressive in terms of compression to bring out the attack, and also quite radically high-pass the eq. More usually I'd just use left and right panned takes for this, often multi-tracked. One thing to be careful of is interaction with hi-hats/rides/shakers/tambourines etc, and you may need to cut a bit of high end from them to allow the top end of the acoustic through - how far is a compromise dependent on the song, e.g on this the hi-hats are quite dull, with the 12 string acoustic taking a lot of the percussive high end;
https://donkeyt.bandcamp.com/track/the- ... to-the-sea
https://www.soundonsound.com/techniques ... itar-sound
..but a lot of it is down to experimentation in placement. In essence it's always a fne balance between overly percussive strumming and too much boominess, but after a bit of messing you can usually find the right spot. I usually start with the small condenser about 6 inches away, pointing at the join between the neck and body, and adjust from there.
Mixing and effects wise, it again depends what the focus is. If the acoustic is the main focus of the song then you'd approach it differently than if you're using it for rhythmic effect..
For the former you'd be trying to keep a more balanced eq and use slow attack and release light compression, with a low ratio, to bring out the detail. Reverb wise I always cut anything below about 500hz (ye olde 'Abbey Road' trick) from the reverb, and for eq a slight cut in the low mids is usually required. If it turns out you've got a bit too much percussive sound then a de-esser/dynamic eq and/or transient shaper can help. For things where the acoustic is the main focus I like to keep it centred with a stereo reverb and then perhaps add left and right overdubs for parts that need emphasis, like this;
https://donkeyt.bandcamp.com/track/enclosed
If you're using the acoustic as much for percussion then you can be a lot more aggressive in terms of compression to bring out the attack, and also quite radically high-pass the eq. More usually I'd just use left and right panned takes for this, often multi-tracked. One thing to be careful of is interaction with hi-hats/rides/shakers/tambourines etc, and you may need to cut a bit of high end from them to allow the top end of the acoustic through - how far is a compromise dependent on the song, e.g on this the hi-hats are quite dull, with the 12 string acoustic taking a lot of the percussive high end;
https://donkeyt.bandcamp.com/track/the- ... to-the-sea
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- KVRAF
- 7094 posts since 22 Jan, 2005 from Sweden
"... not lost in the mix..." and I come to think of less ambience and room in the recording.
Standalone mikes most often need 30-50 cm out from body, and take a lot of ambience.
The DPA 4099G is very good at making closeup recordings with just an inch from guitar body
Very directional, and hardly any ambience unless you want to and set it far out from body.
I combine it with internal mikes like kksound pure or the Taylor ES2 to get stereo which is very exciting sounding.
My favorite placement is over fret 16-18 or so, just an inch above, and pick how much low end you want depending on distance to sound hole.
And it stays in place if you move while playing.
And easy to carry over to any guitar you have. No modifications.
Price around €450 or so, but soooo worth it.
Standalone mikes most often need 30-50 cm out from body, and take a lot of ambience.
The DPA 4099G is very good at making closeup recordings with just an inch from guitar body
Very directional, and hardly any ambience unless you want to and set it far out from body.
I combine it with internal mikes like kksound pure or the Taylor ES2 to get stereo which is very exciting sounding.
My favorite placement is over fret 16-18 or so, just an inch above, and pick how much low end you want depending on distance to sound hole.
And it stays in place if you move while playing.
And easy to carry over to any guitar you have. No modifications.
Price around €450 or so, but soooo worth it.
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- Boss Lovin' DR
- 14312 posts since 15 Mar, 2002 from the grimness of yorkshire
You can get ones a lot cheaper which are obviously not as good, but will still do you a decent job. I have this one;
https://www.gear4music.com/Recording-an ... itars/2BRC
Some shoddily played 12 string I did as a demonstration of it many moons ago;
https://drive.google.com/file/d/1hYMHTk ... sp=sharing