Mic'ing cabs vs acoustics.
- Thread starter Artie
- Start date
beaubrummels
Well-known member
Small diaphragm pencil mics. Neumann KM86, AKG C451, Rode NT5 or NT55, Shure KSM 137 or KSM 141, etc.
Artie
Peaveyologist
Hmm. The closest I have would probably be my M-Audio Aries pair. But those are really intended for vocal use. As are my Senn e835's. I also have an MXL-990, but that's a large diaphragm.
A Neumann would be nice. I remember the first time I heard one in a small studio. It would pick up the sound of the moisture breaking as you parted your lips.
A Neumann would be nice. I remember the first time I heard one in a small studio. It would pick up the sound of the moisture breaking as you parted your lips.
beaubrummels
Well-known member
There are cheaper options, like an Octava MK-012, but mine has a high noise floor so I never use it. The Rode and Shure mics are relatively affordable.
You want small diaphragm because they have a short settling time of the transducer, which makes them able to pick up all the detail and nuances of the string vibration, pluck, touch of the fingers etc. Large diaphragms are slower and get smeared or muddy in the detail. Note separation of chords won't be as clear.
You want small diaphragm because they have a short settling time of the transducer, which makes them able to pick up all the detail and nuances of the string vibration, pluck, touch of the fingers etc. Large diaphragms are slower and get smeared or muddy in the detail. Note separation of chords won't be as clear.
Artie
Peaveyologist
Thanks. Good info. Like maybe a Rode M3?
https://www.sweetwater.com/store/detail/M3Rode--rode-m3-multi-powered-condenser-microphone
https://www.sweetwater.com/store/detail/M3Rode--rode-m3-multi-powered-condenser-microphone
small diaphragm condensers are what i like best, but you can use almost anything. ive used large diaphragm condensers will the bass rolled off with good results, but it takes more work. im assuming we are talking studio, not live. micing acoustics live is a nightmare if there are drums or any electric instruments on stage. off axis at the neck/body joint is a good place to start
Artie
Peaveyologist
Yes. Mic'ing in my little music room to capture the acoustic sound of an F-hole hollow body. I have a pair of M-Audio Aries condensers. They aren't well known, but I got a steal on them way back when that music store was shutting down. I also have a pair of Senn e835's. But those are dynamics. I may try both to hear what sounds best. I don't actually have the guitar in my possession just yet.
beaubrummels
Well-known member
Mic it about a half a foot out from the 14th fret over the fretboard, not near the sound hole, but aimed toward it a bit. It'll sound more natural and pickup the full range of the guitar that the human ear hears. Also use any bass roll-off filter the mic has or from the mic pre if the mic doesn't have any filters. When you compress the acoustic during mix, it will bring all the warmth and bass back to a natural level.
Artie
Peaveyologist
I'll be using a Focusrite Scarlett 18i8. I can't remember if its control panel has bass roll-off, (software CP), but I'm sure Reaper does. We'll see when I get the guitar. Probably next month.
And thanks Beau for that tip.
P.S. I really don't need any new mics, but I've read nothing but good things about these Lewitts.
https://www.sweetwater.com/store/de...ll-diaphragm-condenser-microphone-stereo-pair
And thanks Beau for that tip.
P.S. I really don't need any new mics, but I've read nothing but good things about these Lewitts.
https://www.sweetwater.com/store/de...ll-diaphragm-condenser-microphone-stereo-pair
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Completely agreed on pencil mics. I've had success with so many brands that it's hard to really imagine anything going wrong.
However, unless I need a really, really intimate tone, I almost always run a condenser as room mic. It fills out and if you don't mess with delay... it adds a natural delay.
If you recording space is really small and dead, a thick piece of flooring can do miracles.
Keeping in mind that you're fighting standing waves in any small room, I got an amazingly good sound once in an 8x12 with walls covered in paintings regular old sheetrock ceiling, but a big hunk of solid parquet that had been displaced with renovation.
Back to the delay thing, you can have a lot of fun changing the delay on the room mic and go from thin body tones too big almost wolfy tones.
Last but not least, you can do the David Bowie thing of putting a gate on the room mic so that it only kicks in when you're doing heavy rhythm... So you keep the intimate close effect with the pencils and shift to a big room sound when the room mic opens up.
However, unless I need a really, really intimate tone, I almost always run a condenser as room mic. It fills out and if you don't mess with delay... it adds a natural delay.
If you recording space is really small and dead, a thick piece of flooring can do miracles.
Keeping in mind that you're fighting standing waves in any small room, I got an amazingly good sound once in an 8x12 with walls covered in paintings regular old sheetrock ceiling, but a big hunk of solid parquet that had been displaced with renovation.
Back to the delay thing, you can have a lot of fun changing the delay on the room mic and go from thin body tones too big almost wolfy tones.
Last but not least, you can do the David Bowie thing of putting a gate on the room mic so that it only kicks in when you're doing heavy rhythm... So you keep the intimate close effect with the pencils and shift to a big room sound when the room mic opens up.
GuitarStv
Sock Market Trader
Used to always use a pair of SDCs set up XY with one pointing towards the fretboard and one pointing towards the body. The diaphragms Keep them a little under a foot away (depending on the guitar roughly at the 12th to 14th fret) and pan them to taste to get a stereo spread. This is a very flexible way to record. I built a gobo for recording years ago - just play around with it's location to control reflections in a less than ideal room (usually seemed to work best for me pretty close behind the guitar).
I'm lucky enough to have a good room to record now and have been playing around with some other stuff though. My current favorite is an SDC close up with an LDC a few feet further away to capture room sound and then mix them together.
I'm lucky enough to have a good room to record now and have been playing around with some other stuff though. My current favorite is an SDC close up with an LDC a few feet further away to capture room sound and then mix them together.
Artie
Peaveyologist
You just reminded me . . . I have Craig Anderton's Mid-Side Stereo Mic kit. Of PAiA fame. I'll try that too.
Securb
One of Jerry's Kids
My go to or I go direct to the DAW with the piezo. Then again I am only making demos for the band to learn songs. But it works.
Rex_Rocker
Well-known member
I've used an AT4040 and it worked well. I think something that has a detailed top end and the ability to roll off some bass could work granted the room is not terrible-sounding.
Phantasmagoria
watch where you point that sabre
Luckily I've never had to worry about recording an acoustic :dance:
Phantasmagoria
watch where you point that sabre
..or a Kazoo
Phantasmagoria
watch where you point that sabre
..or a didgeridoo
:bigthumb:
:bigthumb:
GuitarStv
Sock Market Trader
I've played with mid side recording and it can be great too . . . but you better have a nice sounding room, 'cause you're gonna catch a lot of it with that setup. I couldn't get it working well for me in my old space when I needed to use the gobo to cut down on reflections.
