Acoustic Mic for classical guitar

[Dunny]

Just a quick question for you lads , i currently use a line 6 classical guitar for some of my projects , which goes directly into a Tascam input , i have a few classical guitars but have never really tried to record them via a mic , mainly because i do not which one is cost effective , SM 57 have been mentioned before , but is that industry standard? or are the other alternatives for roughly the same expensive

Paul

 

[David Porter]

The SM57 is a dynamic mic and is considered, widely, as an industry standard for recording electric guitar cabinets, snare drums, etc. It's design seems to be well suited for higher levels of sound pressure. I like this mic for live vocals as well.

For capturing the sound of an acoustic and/or classical guitar - a large or small diaphragm condenser microphone is typically the go-to mic. Better for softer or lower sound sources.

(remember - at the end of the day - the rules are there ain't no rules. I have heard folks say they are happy with and get good results from recording acoustic/classical with a dynamic mic - including the workhorse SM57)

I can't speak at length about what "the best" options are... as I just haven't tried a bunch of mics over the years - and generally just don't have that much experience. But I can say for sure that a great budget large diaphragm (side-address) condenser is the Audio Technica AT2035. I have one - and can say for sure that it is an excellent mic for under $200.00 USD. I was using it almost exclusively for acoustic guitar with great results until springing for the Warm Audio WA87 just recently.

 

[Dunny]

Thank you Dave for the information , i have been looking at the SM57 after your post , so i think i will invest in one , and give it a go , checked it out on youtube which gives some pretty good reviews on it with acoustic guitars / recordings , so i will start looking around for a decent deal , i find i cannot get a decent feel with the Line 6 classical , although i would not "knock" it as it produces a great sound , but not the same a "real" guitar !

Thanks again much appreciated

Paul

 

[Mark Richards]

Paul, the best advice I can give you is: the recorded quality of classical (or any acoustic guitar for that matter) starts with the quality of the instrument and the musicianship of the performer. A mic that works well in one scenario may not work as well in another.

Here's how to run a controlled experiment:

• Use an X/Y configuration (i.e. the mic heads are placed one over the other at a 45 degree angle to each other... like this: \/ ) about 3 feet away and aimed straight on at the guitar sound hole.
• Record each mic on a separate track
• Play back one track at a time in mono.
• Listen for two primary things with your eyes closed: (a) Does the recorded sound make you believe you're listening to the same guitar being played live; and does the recorded guitar sound "smooth". Smooth is hard to define, but it's a very natural sound that you know when you hear it. (I think of it as an image of flowing water).

This test will point out the subtle differences that aren't obvious or even noticeable among good mics when auditioned separately. For example, a Neuman U87 has that smoothness; a $200 condenser microphone likely won't come close in comparison, but can fool you into thinking it sounds "just like a Neuman". Among $200 mics, some will come closer than others.

Like David said..."Rule One...There Ain't No Rules". I've recorded several professional classical guitarists over the years, sometimes using cardiod condenser mics, sometimes using cardiod dynamic mics, and sometimes using omni-directional mics (depending on the individual instrument, performer's individual technique, and where I need to place the mic to capture the performance accurately.

Sometimes placing the mic in the standard aim-at-the-sound-hole position was absolutely the worst thing to do. I once experimented by placing two cardiod condenser mics (on a boom from behind the performer) in an XY configuration just over the top of the performer's head pointing down. The performer told me on playback that it was the first time he ever heard his recorded performance as ~he~ heard it while playing. A happy customer is a returning customer, and that was the take we used. (it also sounded just fine!)

Probably not the answer you're looking for, but it's fundamentally about finding the right tool for the particular job.

 

[Dunny]

Sorry for the delay in reply Mark , i have read your reply and thank you for the expert advice , i will shortly be on a journey in "acoustic guitar" recording, once if have the equipment and time to throw at it , i have a couple of decent classical Admira guitars which sound great to me but i suppose the proof is , how i play them , and how good my technique is , as you have correctly pointed out , there is a saying which goes like this " you can not polish a turd" if you get my drift , so i will keep you all informed of my progression over the next couple of months .

Some great advice from Mark and Dave

Thank you

Paul

 

[-mjk-]

Try a PZM.

 

[Dunny]

Thank you mjk for your input its on my to do list , i will check out your music on your website , thank you

Paul

 

[-mjk-]

Dunny, when PZM mics first came out we were fortunate to be doing some sessions in Long Island, and the studio was one of the first ones to have them. The crystal clarity of acoustic guitars with a PZM was (and still is) astonishing. They feature a hemispheric pickup pattern. You can use them in an X-Y configuration. I've also used them on piano with remarkable results.

 

[SocProf]

Sound on Sound Magazine recommended the Rode M5, which sells for $199 a pair in the US.

https://www.soundonsound.com/reviews/rode-m5

 

[Noto]

I have gotten good results with the AKG C-1000 (the sm57 of condenser mics) placed about 16 inches away pointing at the 12th fret or thereabouts: https://www.soundonsound.com/reviews/akg-c1000s

 

[David Porter]

I have also gotten good results with the AKG C1000 with same placement.

 

[David Porter]

I wanted to add to this thread.... the mostly positive results that I got by trying the mid/side mic placement technique when recording solo acoustic guitar.

I think it's pretty well established that going for a "stereo image" of a classical or acoustic guitar in a busy mix of instruments is generally not a desirable thing - and it's generally better to just record mono for this type of application.

But for a simpler mix of instruments - or more particularly - a solo acoustic guitar situation where the guitar will be very prominent.... using two mics to try to capture a stereo image can be quite pleasing.

So I recently "tested" the mid/side mic placement technique for the first time and got pretty decent results right away. This was done entirely with two LDC's (an AT2035 and a Warm Audio WA87) and the DP-32SD:

https://soundcloud.com/porterhousemusic/a-new-day-4wav

 

[Arjan P]

With a prominent acoustic guitar - if the guitar player is consistent enough - I'll try doubling the track. I mean, recording two mono identical performances, then panning hard left-right in the mix. Sounds great for many music styles (but the player should be up to it or it'll be disaster for all parties involved).