yeah, a pop filter isn't going to do anything for that. Honestly, I think you're approaching this a bit backwards. You gave up on something really easy and basic.
For example, if you're getting a harsh sound, there's a number of things that can be off here. So I would rethink my approach:
-Problem: The mic you're using may not be giving you the results you're looking for.
Solution: Go into your mic selection and don't be afraid to pick out another one and swap it out.
-Problem: Your micing technique needs re-evaluation. The idea that the soundhole of an acoustic guitar produces the most important sound of an acoustic guitar is not true by any means.
-Solution:
The entire instrument produces the sound.
The combination of the strings vibrating over the sound hole, the attack of the pick (or fingers) on the strings, the notes resonating and amplifying inside the body coupled with the body resonating and "breathing" those notes back outward makes your final composite sound.
The soundhole only acts like an acoustic speaker. And just like any speaker cab, the material the cabinet's made from also resonates which creates that specific overall sound.
Many times in situations where your miked sounds are translating harsh on playback, then your emphasing the harsh aspects of that instrument. In this case, the sound hole. So use your ear. You have to move that mic around until you've found a good blend between the soundhole and the rest of the body. It may actually take more than one mic to do that.
For all we know, that sweet spot might end up being down the hall, jammed inside the washing machine, with another mic shoved in a closet. You never know until you take your headphones, turn them up, jack up your pre, then take your mic and move it around until the guitar sounds good.
Remember, you can EQ with mic axis. If it sounds a little too harsh, then bring the mic a little off axis and listen.
Personally, I'd aim about 6-12inchs off the 12th fret at about 45 degrees off axis. I usually have a good low end response mic behind the guitar player micing the back of the body as a second mic. With those two mics in conjunction, with thier phase issues working together the way they do, it gives me a very organic and pleasant sound. Pretty true to the real thing. Honestly, that's my sound on acoustic guitar, so yours may be different.
Of course, I figured that out through tons of experimentation. So that time you're using throwing in the towel could be spent experimenting.
You see, when something's harsh, it helps to give it air....give it space. Rather than close micing this thing, get the mic further away and use your space to help soften the signal. If the room dosn't work, then figure out ways to make it work for you. Or try another room.
- Problem: Your instrument may need a second look.
Solution: You'd be surprised at just how many people don't understand how much similar made instruments can vary in different situations. Tempurature, tuning, how you string it up, what types of strings, the condition of the actual instrument. Shit, you may just need a softer pick? Who knows.
Even among exact copies, you're going to get incredible differences. The problem is most people don't hear it unless it's pointed out to them. No two Les Paul standards are exactly the same, no two Dean Martin special edition whatevers are ever the same, so no mic technique is ever exactly the same.
So take a look at the guitar, play it, listen to it. I mean really listen to it. You may need to do something to it to make it sound recorder friendly.
This may help or may not. Don't let it discourage you.
