Acoustic recording options:

S

SilverSurfer

New member
I have one Mk319 mic. I could record at the sound hole or I could plug in to the guitar with either option going to the DMP3 to the compressor to the recorder.

Should I just bone up and get another mic to utilize the best suggested way of recording acoustic via 2 mics?
 
SilverSurfer said:
I have one Mk319 mic. I could record at the sound hole or I could plug in to the guitar with either option going to the DMP3 to the compressor to the recorder.

Should I just bone up and get another mic to utilize the best suggested way of recording acoustic via 2 mics?
Click to expand...

Two mics may not be the best way at all depending on what kind of music you're doing. If your song is just guitar and vocals, two mics or at least two tracks of guitar may be better. If it's an acoustic track in with several other instruments or different accoustic tracks, one mic is fine. You can get some pretty good sound with a mic and a DI together. But yeah, you should get another mic anyway. You always need another mic. :)
 
Mic somewhere other than the soundhole. :)

I suggest at about the 12th fret, a foot out. Angle it slightly towards where the neck and body meet. If that doesn't sound right, move it around til you find a sound you like.

Micing the soundhole, especially with the 319 just sounds really boomy. In my opinion at least.
 
Yeah, Steven's right, 2 mics is not always the way to go. I used to record with 2 mics on acoustic, and as time goes by, I'm finding that I like to concentrate on getting 1 quality signal and then manipulate it to taste later. And yes, owning another mic is a good idea, you can never have too many.

I happen to have a DMP and a 319, and they will yield a decent recording on acoustic. But my favorite mic for acoustic (of those I have available) is a Shure SM81. And don't forget-you can always record the same signal to 2 tracks, (or clone one if you're on a PC) pan them, EQ them differently, and process with effects differently, to achieve some interesting "pseudo-stereo" recordings.

Using a pick-up doesn't usually do it for me unless I'm after that particular sound. Experiment!
 
Hmm, ok I'll try your suggestions. I too was thinking of direct and mic recording it at the same time to see what it would sound like to mix them both.
 
SilverSurfer said:
Hmm, ok I'll try your suggestions. I too was thinking of direct and mic recording it at the same time to see what it would sound like to mix them both.
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I mic and one direct is the route I use now. I run the direct through a sansamp acoutic DI and blend to taste. I've got a sample I made a while back if you're interested.
 
DigitalSmigital said:
does it sound better near the center of the neck/body at one foot away?

Class? Anyone?
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It depends on the song and the style but your 319 will tend to be too boomy over the soundhole. Experimentation is the key every time around, but you'll likely end up about a foot away where the body meets the neck.
 
I thought what they teach in Physics 101...

was that the body/neck/soundboard, i.e. the wood of the guitar was what projects the soundwaves which we wanted to record. The optimum placement formula is 1/2 the length of the guitar in distance, aiming at the guitar's halfway point (generally near the 12th fret), so you are recording the first convenement of all the harmonics. Experimenting with placement will only cut certain harmonic frequencies (perhaps desirable ones) which eq could do as easily.

Either that, or another way.
 
But the one mic and one DI mixture is an exceptionally successful route, and I'd hate to argue with an engorged member.

Howsabout that link, JR?
 
i've gotten some good recordings with just my NT1-A. I think you just need to pay attention to where you put the mic rather than how many mics you use.

1 mic and a direct input should yield a well-rounded sound. the direct input usually comes in high on the trebble end. you can counter that with a little more in the midrange by using the mic. the mic will also add some air and harmonics to the recording. direct input by itself usually sounds a little sterile. but with both i'm sure you can get some good sounds.
 
Well done, indeed...

A fine example of how DI + mic can yield a fuller sound. How was this recorded?

I see you also record on a 4 track recorder (Free Myself) Really enjoyed Music Box. I may have to download that one...
 
Don't over look the Omni

A nice trick, if your room sounds OK, is to use an omnidirectional condenser instead of a cardiod. We all have omni's in our studios don't we?
(One of the least used, and understood mics, and if you ask me it's a shame).
A good omni WILL cure your boomy "sound hole" problem you are having with a single or double condenser mic technique. The reason they aren't used more is that there are usually other players in the room and you want to get as much tracking done as quickly as possible. So...to avoid leakage we go cardiod. But... we individuals in our home studios doing these tracks one at a time don't have to worry about that.

Right now, if you can find one, the best bang for our home recording studio buck, is the omni capsule for the Oktava MC-012 or MK-012. Guitar Center sometimes sells these mics (MC-012 cardiod) at $49 bucks each, and then the extra screw-on omni capsule is about another $75 or so. So for about $120 bucks you get two mics. It's an amazing thing to hear, when you put that omni right up near the sound hole and just hear clean wonderful acoustic guitar instead of all that muddy boom you expect.
Also the MC-012s are all over Ebay. In fact, I just picked up another omni capsule on Ebay for $75 bucks. You will have to spend many hundreds more to beat this setup.

That's my two cents...
 
DigitalSmigital said:
A fine example of how DI + mic can yield a fuller sound. How was this recorded?

I see you also record on a 4 track recorder (Free Myself) Really enjoyed Music Box. I may have to download that one...
Click to expand...

Thanks. The sample was recorded to my fostex digital HD recorder. Large diaphragm about 6" from the 12th fret into a ART Tube MP and then the direct out into the Sansamp Acoustic DI. Then blended. No EQ or effects. I was having a very hard time getting good solo acoustic results with mic's. So experimented with the DI and liked what I heard when it was blended in.

The 4 track stuff is ancient. Live recordings of practice.
 
I did not have time to read this but here is the "Industry Standard" for recording acoustics ( Alternative ) And I also Know that Elliott Smith Did this as well does M.Ward. Use a really nice Diaphragm Mic about 6-12 inches from your port (hole) then use somthing compressed along the lines of a Sure SM-57/ on about fret 5. also 6-12 inches away/ Done is done great sound compress the neck when mixing and expand the port.

You need nothing more in life.

Other than the fact if your getting alot of sharp pick noise, use a muffle, and also try a nice 45 degree angle DOWN.. you can reduce that by far. but remember anytime you adjust 1 mic, be sure to check that the other does not need some tweeking.

Good luck.
 
Awesome!!!

Very nice playing, I really liked the "Mediterranean Slide" and "Free Myself". You captured some great guitar sounds, my guitar sounds were never that good on my old Fostex FD-8, but I never used a DI box.... should have though!!! Nice playing!!!! :cool:
 
JR#97 said:
About 1/2 way down there's a tune called Sansamp Acoustic DI Sample.
1st section: Sansamp Acoustic DI
No EQ, compression, or effects.
Click to expand...

Wow! That's crystal clear, like you where right here in the room. How'd you do that with acoustic and then converted to MP3? The MP3 doesn't sound flat or faded. It's a nice good rich acoustic sound.

By the way what kind of acoustic guitar do you have and what are the strings on them?
 
i'm a big fan of placing one mic around the 12th fret 1 ft away and one near the bridge same distance. I use a pair of MXL 603's.
 
As has been pointed out the room has a lot to do with this. If you were recording outdoors with no background noises you'd probably do best 2-3 feet away. And if your room really sucks you need to get closer than you'd generally want to.

The suggestion I have heard the most is the "12th fret about a foot away" suggestion but in my experience getting a little closer and/or pointing just beneath or below the sound hole works best just as often.

Also, the mathematical approach only works if the guitar is constructed perfectly.

Two good small condensors in an XY pattern seems to be best where the acoustic guitar is being used as a solo instrument. But, as has been said, experimentation is key. Record the same 30 second piece with the mic (or mics) in four different positions and compare. And don't forget which is which!
 
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