I need help recording Flamenco guitar, specific to the gear I have, mics , preamp

[lestat26]

Hello everyone,

I have read some postings based on flamenco recording, but need more specific help in terms to the equipment I already have, and my room conditions.
I can never get my flamenco guitar recordings to have clarity, mostly sounds muffled or dull, especially in a full band mix (overdubbing single tracks to the mix)

Some questions I have are: Which of my preamps will sound best with the mics I have, what would be the best combinations? Should I record with 2 mics, or just one? Mic positions? Should I mic the rhythm guitars in a different position than the lead guitar?

Thanks for the help,

Preamps:
RME FireFace 800
Universal Audio Solo 610
Grace M101

Mics:
Neumann KM184 SDC
MXL V69 tube ( replaced w mullard tube) LDC
Nady RSM-2 ribbon B-Directional figure 8

Reverb Plug ins
SIR 2 reverb

[uncle duncan]

Depending on the context (bass and drums with guitars or just 3 guitars?) you'd want the rhythm guitars to be transparent sounding (less bass) and the lead guitar to be beefiier, so it takes up more space in the mix. It's okay to sacrifice a little high end and/or low end on one element to make room for the other element. It you don't, you'll end up with mush.

A couple of things to try:

Do you have a set of isolation headphones? That would be crucial to getting good mic placement.

So, put the MXL mic (Grace pre) in the center of the room, and, with your isolation headphones on, walk around the room, playing your guitar, to search for a sweet spot. Also try close-micing the guitar in the center of the room, so the reflections aren't such an issue.

I would try the KM184 through the UA. That's a bright mic, but also with some low-mid buildup, so you need to be careful about getting it too close. Also try the MXL through the Grace. The MXL is already a dirty mic, and it doesn't need more dirt from the UA. With your isolation headphones, you should be able to find sweet spots for both mics, one near the bridge, one near the neck. When it's time to mix, you might use more of one and less of the other, or even just use one, depending on the context. But at least if you have them both recorded, you have options.

Depending on how bright your guitar is, you also might consider a Heil PR35 dynamic mic, which is pretty close to flat, (but more present than the ribbon.) The problem with bright mics on nylon guitar is the fact that they get too much fret buzz and string noise, and both your condenser mics are considered quite bright. (That's why I sold my MXL V69 - bright but fuzzy. Never tried a different tube, though.)

I'm thinking you'd want contrast between the rhythm guitars and the solo guitar, so perhaps use the ribbon mic for the solo stuff, and run it through the Grace, since the ribbon is probably also a little dirty sounding and would benefit from a clean preamp. Or maybe, if you got the Heil PR35, use it for the guitar solos and put up the ribbon for the MS configuration, so you could dial in some room sound during the mix. Flamenco music generally sounds kind of roomy, but your room is so small and (probably) crappy sounding, it might not be an enhancement. In fact, the room sound could be what's making your current tracks sound muddy. (That and setting up in the corner. Corners amplify the bass frequencies, and it doesn't look like your absorption in the corners includes bass traps.)

Or use the ribbon up close, but angled so it doesn't pick up too much bass, (proximity effect) and use another mic a little farther back. Then phase-align those two mics (visually) in your daw, so you don't get phase cancellation. If the ribbon mic is pointed down at the guitar, the figure 8 will be picking up reflections from the ceiling, so you might consider sticking something up there to deaden those reflections, although they might be far enough away to be barely audible. I used a ribbon mic the other day on a violin, angled down at the instrument, and I got a little bit of room sound, but not enough to ruin the recording.

One more thing - don't put the mic in front of the sound hole. Please!

It's all about experimentation, my friend. Good luck.

[lestat26]

Originally Posted by uncle duncan

Depending on the context (bass and drums with guitars or just 3 guitars?) you'd want the rhythm guitars to be transparent sounding (less bass) and the lead guitar to be beefiier, so it takes up more space in the mix. It's okay to sacrifice a little high end and/or low end on one element to make room for the other element. It you don't, you'll end up with mush.

A couple of things to try:

Do you have a set of isolation headphones? That would be crucial to getting good mic placement.

So, put the MXL mic (Grace pre) in the center of the room, and, with your isolation headphones on, walk around the room, playing your guitar, to search for a sweet spot. Also try close-micing the guitar in the center of the room, so the reflections aren't such an issue.

I would try the KM184 through the UA. That's a bright mic, but also with some low-mid buildup, so you need to be careful about getting it too close. Also try the MXL through the Grace. The MXL is already a dirty mic, and it doesn't need more dirt from the UA. With your isolation headphones, you should be able to find sweet spots for both mics, one near the bridge, one near the neck. When it's time to mix, you might use more of one and less of the other, or even just use one, depending on the context. But at least if you have them both recorded, you have options.

Depending on how bright your guitar is, you also might consider a Heil PR35 dynamic mic, which is pretty close to flat, (but more present than the ribbon.) The problem with bright mics on nylon guitar is the fact that they get too much fret buzz and string noise, and both your condenser mics are considered quite bright. (That's why I sold my MXL V69 - bright but fuzzy. Never tried a different tube, though.)

I'm thinking you'd want contrast between the rhythm guitars and the solo guitar, so perhaps use the ribbon mic for the solo stuff, and run it through the Grace, since the ribbon is probably also a little dirty sounding and would benefit from a clean preamp. Or maybe, if you got the Heil PR35, use it for the guitar solos and put up the ribbon for the MS configuration, so you could dial in some room sound during the mix. Flamenco music generally sounds kind of roomy, but your room is so small and (probably) crappy sounding, it might not be an enhancement. In fact, the room sound could be what's making your current tracks sound muddy. (That and setting up in the corner. Corners amplify the bass frequencies, and it doesn't look like your absorption in the corners includes bass traps.)

Or use the ribbon up close, but angled so it doesn't pick up too much bass, (proximity effect) and use another mic a little farther back. Then phase-align those two mics (visually) in your daw, so you don't get phase cancellation. If the ribbon mic is pointed down at the guitar, the figure 8 will be picking up reflections from the ceiling, so you might consider sticking something up there to deaden those reflections, although they might be far enough away to be barely audible. I used a ribbon mic the other day on a violin, angled down at the instrument, and I got a little bit of room sound, but not enough to ruin the recording.

One more thing - don't put the mic in front of the sound hole. Please!

It's all about experimentation, my friend. Good luck.

Thanks Uncle Duncan,

Yes, the guitars will also be mixed in with Bass guitar, Kick drum, Cajon. I do have isolation headphone (AKG K240's) and use them. I usually just put them on, sit where I am, and move mics. I'll try out your ideas instead, and walk the room. I will also try your mic/ pre combos. It good for me to hear what could work better. Sounds like I shouldn't use the MXL V69 tube mic with the UA Solo 610 pre. Too much tube? Yes, my room is small, and I do really think it contributes to why my recorinding have a dull sound to them. I have noticed the km184 is pretty bright, but with my room acoustics, and the way I usually mic the guitar with it ( straight at the 12 th fret 12 inches or so away, it still doesn't sound that great. ) Almost to bright in a ridgid dull way. Hard to explain. I did set up the absortion in the corner behind the chair I sit in when I record, it has helped tighten up the sound. But somwthing is still wrong. As of now, I do have bass traps in the corners, instead of the purple stuff you see in the top corners of the room. There just not in the pictures. I have one in each top corner 2 ft long. Should I get more bass traps and place them lower in the corners as well? How far down should I be angling the ribbon mic to the guitar, just in general? I will experiment with all of your suggestions.

I always have this idea that because my room is not that great for acoustics, that if I place the mics closer to the guitar, I can put reverb on them in the mixing stage (daw) to make up for my room.. However, I notice I need to get better results at the recording stage first.

[Mr.HOLMES]

Here are my spontaneous thoughts.

The room looks still very lively to me so you will have a hard time to get a good acc guitar sound in it unless you are willed to do some super close miking...
What is in my opinion a bad idea for a good sound.

Maybe we can have sample by you to evaluate the room sound and maybe some bad resonances of your room?

Use a preamp what has nearly no colouration!!!
But who knows maybe the UA 610 does the job too never worked with this one.

I use some Sennheiser HD 25 Headphones and I place one KM 184 in front of the guitar so that I get a sound that will work in the mix. I always try to avoid muddiness around 100Hz.

Rule of thump.
Place the mic around 25 cm away from the guitar at the neck corpus crossing. The more you go into the direction of the bridge the more base and bomines you will get. In direction of the sattle you can capture some sound too but you will have string noise from chord changes as well.

So you can use two KM 184 if you like but my experience tells me that mono is dead clear and enough to get a great recorded guitar. Sometimes I am wondering which science some engineers do out of solo guitar recording. For sure you can do everything very complicate.....but you will need a very great sounding tracking room for this.

Tracking a guitar in mono is great.
If you like you can place an ambience mic as well but I only would do this if the room sounds good.

If your room is sounding to lively you should place some self made Gobos around the guitar with 10cm Rockwool on it. So you will have a more dead sound and you may use clever reverb to get the right ambience. Further you can adjust the room sound with gobos to your needs, placing them in front of the guitar checking different positions of them.
my 2 cents hope it helps you

[lestat26]

Originally Posted by Mr.HOLMES

Here are my spontaneous thoughts.

The room looks very lively to me so you will have a hard time to get a good acc guitar sound in it unless you are willed to do some super close miking...waht is in my opinion a bad idea for a good sound.

Use a preamp what has nearly no colouration!!!
But who knows maybe the UA 610 does the job too never worked with this one.

I use some Sennheiser HD 25 Headphones and I place one KM 184 in front of the guitar so that I get a sound that will work in the mix. I always try to avoid muddiness around 100Hz.

Rule of thump.
Place the mic around 25 cm away from the guitar at the neck corpus crossing. The more you go into the direction of the brige the more base and bomines you will get. In direction of the sattle you can capture some sound too but you will have string noise from chord changes as well.

So you can use two KM 184 if you like but my experince tells me taht mono is dead clear and enough to get a great recorded guitar. Sometimes I am wondering which science some engineers do out of solo guitar recording. For sure you can do everything very complicate.....but you will need a very great sounding tracking room for this.

Tracking a guitar in mono is great.
If you like you can place an ambience mic as well but I only would do this if the room sounds good.

If your room is sounding to lively you should place some self made Gobos around the guitar with 10cm Rockwool on it. So you will have a more dead sound and you may use clever reverb to get the right ambience.

my 2 cents hope it helps you

I was thinking my room is more dead than alive. What is making it more live so I can understand. Would this be because of the ceiling? My ceiling has a pitch on it. A little hard to see it in the pictures. There is this open transparent sound in the genre of music I want to emulate. There's this radio station online that has alot of it there. Here's a link if you want to hear some examples Classical Guitar Radio - Free Classical Guitar music on SKY.fm They play solo guitar pieces and full band songs based around flamenco guitar. Listen to the rythm guitars in the mixes, and the leads. That's what I want, but might not be able to, so possibly at least close to it! If anyone wants to check out a few tunes on this station, it loads pretty fast. Can anyone describe the tones/ quality of the guitars that are being played on this station? They all seem have this sonic lushness, and I wonder how they get that. Anyone?

[Mr.HOLMES]

This sounds to me very bad recorded there is also awful noise around 50-70 HZ on it. The reverb sounds for me something what you can get with altiverb.

Please send me a PM with your e-mail addresses and I send back a file of a great classical recording. It still would be interesting to hear a sample of your room.
The Band stuff I see no prb to get this record you guitar very dead and use a good reverb on it.

It is easy for me to say my control room has 400 ms RT 60 near over the whole f-band.
I can nail everything here very well.

[lestat26]

Originally Posted by Mr.HOLMES

This sounds to me very bad recorded there is also awful noise around 50-70 HZ on it. The reverb sounds for me something what you can get with altiverb.

Please send me a PM with your e-mail addresses and I send back a file of a great classical recording. It still would be interesting to hear a sample of your room.
The Band stuff I see no prb to get this record you guitar very dead and use a good reverb on it.

It is easy for me to say my control room has 400 ms RT 60 near over the whole f-band.
I can nail everything here very well.

I have a lame question, I never have PM. Is this a certain way to give you my email address? Let me know how.. I would like to have a sample of the classical recording. Can you help me understand how you say i can get the good sound you heard of the full band songs from the sky radio station. I will be able to post an example hopefully later today when I get home. At girlfriends house now!

[Mr.HOLMES]

Maybe my idea helps you there is no guarantee...audio is total subjective.

Klink on my link on my signature there you see on the start page the german word:

Kontakt/Conatct click on it and send me an e-mail.

[lestat26]

Anyone else have any suggestions here?

[ryst]

I personally like the Blumlein technique for acoustic, classical, or flamenco guitars.

[Birdi]

Random thoughts....

have you experimented much with different strings on the instrument? Just wondering if there is a choice of string that may not sound the 'nicest' in terms of pleasure as a player, but give a better result in the context of your recording? And what about your nails? I studied classical guitar years ago and spent hours buffing and filing my nails to get the best sound possible. Does flamenco guitar share some of the same right hand techniques as classical?

B

[lestat26]

Originally Posted by ryst

I personally like the Blumlein technique for acoustic, classical, or flamenco guitars.

I'll try that out. I have some time later!

[lestat26]

I have tried different strings, and use the Pro Arte Classicals. My nails are done pretty well, I also use the stuff Head2Toe Beauty Other Nail Treatments ( go to bottomof page called Onymyrrhe)

I think I am going to go the route of trying out a few more microphones. I mentioned first that I didn't want to spend anymore omoney, but Uncle Duncan mentioned that the mics I have are to bright. I think he is dead on... It seems to be my main problem. He did mention the Heil PR35 dynamic mic, I will look into that.

But does anyone else have any other mic suggestions? Condensors, tubes, that are not too bright?

[Birdi]

that nail stuff looks interesting... I have recently started playing the guitar again and my nails are a mess, soft and horrible. eating heaps of almonds always seems to get them strong tho.

As for mics: perhaps dynamic might be the way to go.... thinking about the sound of flamenco .... there is this bright percusive element that the km184 could ugly up.

how about beyer m201? I'm thinking percussivly here, I like them on congas and bongos: bright-ish without brittleness/hardness. Theres always the bloody old SM57, you never know. One of the coolest accoustic guitars I'v heard was recorded with a single 57 - mind you it did go thru a really kick ass pre.

B

[lestat26]

Originally Posted by Birdi

that nail stuff looks interesting... I have recently started playing the guitar again and my nails are a mess, soft and horrible. eating heaps of almonds always seems to get them strong tho.

As for mics: perhaps dynamic might be the way to go.... thinking about the sound of flamenco .... there is this bright percusive element that the km184 could ugly up.

how about beyer m201? I'm thinking percussivly here, I like them on congas and bongos: bright-ish without brittleness/hardness. Theres always the bloody old SM57, you never know. One of the coolest accoustic guitars I'v heard was recorded with a single 57 - mind you it did go thru a really kick ass pre.

B

Yes, try out this nail hardener. It's used on horse hooves. My nails stay hard, make sure to use it 3-4 times a week, or every day if you want. I'll look inot the Beyer and learn more about it. thanks

[Emi]

I record flamneco and a KM184 positioned where the neck and the body of the guitarr get together always give me good results. For pre I use a clean one like Amek Purepath, SPL GoldMike or if I can a Focusrite Red. The last one sounds great. I always look for a clean and brighter sound with full body at the same time.
The placement of the mic is very important and can be different form player to player.
Apart of the km184, if the time and mics and pres permits, I like to use another mic placed at the ear of the player cuz the player always wants to hear the instrument like he was playing it.
Another good mic and sometimes can be better than the KM184 even if are a lot of people here that will say the contrary, is the AKG C414 specialy when you look for more body and whant to preserve the attack.

[lestat26]

Originally Posted by Emi

I record flamneco and a KM184 positioned where the neck and the body of the guitarr get together always give me good results. For pre I use a clean one like Amek Purepath, SPL GoldMike or if I can a Focusrite Red. The last one sounds great. I always look for a clean and brighter sound with full body at the same time.
The placement of the mic is very important and can be different form player to player.
Apart of the km184, if the time and mics and pres permits, I like to use another mic placed at the ear of the player cuz the player always wants to hear the instrument like he was playing it.
Another good mic and sometimes can be better than the KM184 even if are a lot of people here that will say the contrary, is the AKG C414 specialy when you look for more body and whant to preserve the attack.

Good to hear. Would you happen to have a sample of a recording you did with the Km184? I would like to hear the tone. It might be my guitar, or something I am not doing right. My pre is the Grace M101. You can email if so.

[Musiclab]

I have a few easy suggestions, 1. get out of the corner with that guitar. 2 proximity, you would be suprised as to how far away even a small diagphram condenser can be from the source and sound great.

[lestat26]

Originally Posted by Musiclab

I have a few easy suggestions, 1. get out of the corner with that guitar. 2 proximity, you would be suprised as to how far away even a small diagphram condenser can be from the source and sound great.

I'll try recording out of the corner. Should I not use the sound absortion I have behind the guitar? I have noticed with the panels the sound of my guitar has tightend up the sound alot. With out it in my room behind me, the sound seems flabby/uncontrolled in the bass frequencies. I think my room might have something to do with it. Not sure though . How far are you thinking? I am micing 12 inches to about 3 feet. thanks

[ssaudio]

I've recorded loads and loads of classical and flamenco guitar. I wouldn't ever advise close micing, always from at least 1.2m away (even when playing in an ensemble).
Mono cardioid is fine, especially if the room sounds poor, but there's no reason why you couldn't experiment with stereo recording techniques too - just keep plenty of distance between your mic and guitar, both need the space for the sound to develop

[lestat26]

Originally Posted by ssaudio

I've recorded loads and loads of classical and flamenco guitar. I wouldn't ever advise close micing, always from at least 1.2m away (even when playing in an ensemble).
Mono cardioid is fine, especially if the room sounds poor, but there's no reason why you couldn't experiment with stereo recording techniques too - just keep plenty of distance between your mic and guitar, both need the space for the sound to develop

Thanks for the tip. ALso, how about when I want to do rythm guitars that will go into a mix? When you are 1.2m away,, do you usually have that mic eye level, or are you micing lower than that?

[ElMosca]

These are questions that you can (and should) be researching yourself at your studio. Nobody can tell you exactly where to aim your microphones without being in the room with the players. Are you the guitarist? Then, I recommend that you enlist an assistant to move the microphone around while you play, wearing headphones.

Are you tracking a group live or layering one instrument at a time?

If you're layering, I would try leaving the microphone in one place and moving the chair around for each new instrument (cajón, bass, kick. Are you recording palmas and jaleo as well?) to get the different natural EQ of microphone placement. For the backup guitars, for example, I would just record them a little farther and to the side from the mic as your "soloist" guitar.

Watch these videos to get an idea of placement (both players and microphones). These are live TV shows, so on the last video of the list, you will see the mics on booms being frantically repositioned as each artist takes his or her solos. In essence, you could get a great sound using two mics: one farther back to pick up the fabled "room sound" and another one closer to the source for bringing the solos to the front.

http://www.youtube.com/watch?v=T0JqI1XevXs
http://www.youtube.com/watch?v=szh_IDEVxYE
http://www.youtube.com/watch?v=PnegvuyMkeQ
http://www.youtube.com/watch?v=rA0WzQTdV_Q
http://www.youtube.com/watch?v=nFvhsu0IqE0

The last link is unique: They have a difficult situation, so they close mic'ed the guitars and used a third one on the voice. The only bad thing is that they pointed the guitar mics straight on the soundhole, so Moraito's guitar sounds really boomy. My "secret" spot for aiming a mic on the nylon-string is to point to the lower bout (bottom half).

Good luck. I hope I provide something you can use (if not, enjoy the videos).

++aldo

[lestat26]

Originally Posted by ElMosca

These are questions that you can (and should) be researching yourself at your studio. Nobody can tell you exactly where to aim your microphones without being in the room with the players. Are you the guitarist? Then, I recommend that you enlist an assistant to move the microphone around while you play, wearing headphones.

Are you tracking a group live or layering one instrument at a time?

If you're layering, I would try leaving the microphone in one place and moving the chair around for each new instrument (cajón, bass, kick. Are you recording palmas and jaleo as well?) to get the different natural EQ of microphone placement. For the backup guitars, for example, I would just record them a little farther and to the side from the mic as your "soloist" guitar.

Watch these videos to get an idea of placement (both players and microphones). These are live TV shows, so on the last video of the list, you will see the mics on booms being frantically repositioned as each artist takes his or her solos. In essence, you could get a great sound using two mics: one farther back to pick up the fabled "room sound" and another one closer to the source for bringing the solos to the front.

YouTube - El Lebrijano - Soleá por BulerÃ*as
YouTube - Fosforito por Tangos
YouTube - Pata Negra with the Montoya Family #2
YouTube - Camarón tocando la Guitarra
YouTube - Lebrijano, Fosforito, etc. - Fiesta por BulerÃ*as

The last link is unique: They have a difficult situation, so they close mic'ed the guitars and used a third one on the voice. The only bad thing is that they pointed the guitar mics straight on the soundhole, so Moraito's guitar sounds really boomy. My "secret" spot for aiming a mic on the nylon-string is to point to the lower bout (bottom half).

Good luck. I hope I provide something you can use (if not, enjoy the videos).

++aldo

Aldo,

Excellent, and thanks for your input. I'll keep researching my mic positions and look into the info you gave me, appreiciate it all.

[ssaudio]

Originally Posted by lestat26

Thanks for the tip. ALso, how about when I want to do rythm guitars that will go into a mix? When you are 1.2m away,, do you usually have that mic eye level, or are you micing lower than that?

I would generally point towards the 'middle' of the guitar for starters, but the room also comes into effect here. The mic really needs to be moved to get the best overall balance and 30mm can make all the difference - good cans and patience are required for this
In my experience (for classical and flamenco) you can never get a natural enough sound with close micing. Indeed, I've never worked with a guitarist who would allow it anyway if the results were to be used for a recording - these guys pay tens of thousands for their instruments and certainly don't want them miced from a few inches away
For ensemble work I'll usually go for the classic semi-circle set-up and have each player about 1.2/2m apart. I'll then have them all spot miced with a cardioid from about 1/2/2m away and have the whole ensemble covered by a stereo pair/decca tree - it's then just a case of positioning/balancing all of that (and catering for the problems a dancer(s) can cause) - I find most Flamenco and Classical ensembles want a wide image and good positioning within it these days, so the spot mics are very important, if hard work

For live or broadcast you certainly need to sometimes compromise, of course

[lestat26]

Originally Posted by ssaudio

I would generally point towards the 'middle' of the guitar for starters, but the room also comes into effect here. The mic really needs to be moved to get the best overall balance and 30mm can make all the difference - good cans and patience are required for this
In my experience (for classical and flamenco) you can never get a natural enough sound with close micing. Indeed, I've never worked with a guitarist who would allow it anyway if the results were to be used for a recording - these guys pay tens of thousands for their instruments and certainly don't want them miced from a few inches away
For ensemble work I'll usually go for the classic semi-circle set-up and have each player about 1.2/2m apart. I'll then have them all spot miced with a cardioid from about 1/2/2m away and have the whole ensemble covered by a stereo pair/decca tree - it's then just a case of positioning/balancing all of that (and catering for the problems a dancer(s) can cause) - I find most Flamenco and Classical ensembles want a wide image and good positioning within it these days, so the spot mics are very important, if hard work

For live or broadcast you certainly need to sometimes compromise, of course

This is great info. thanks for the specifics. I always close mic, I will start experimenting in my room , micing farther in distance to capture the full guitar and a little room.

[Musiclab]

Originally Posted by lestat26

I'll try recording out of the corner. Should I not use the sound absortion I have behind the guitar? I have noticed with the panels the sound of my guitar has tightend up the sound alot. With out it in my room behind me, the sound seems flabby/uncontrolled in the bass frequencies. I think my room might have something to do with it. Not sure though . How far are you thinking? I am micing 12 inches to about 3 feet. thanks

12 inches is insanely too close for the application, at least 3 feet, try moving the panels out behind you

[TurboJets]

There's a lot of great advice here already and I'm a big fan of stereo technique for Flamenco. Some of my fave recordings are from Ottmar Liebert and he goes crazy with stereo experimentation.

Blumlein is the technique I use most for acoustic and nylon guitars (lead and rythm) and since flamenco is so crisp and percussive I find that to help capture the authentic feel of flamenco it's super helpful in a room like yours to put down some scrap plywood under the performer's chair and around the performance area. In Spain most live performances are done on plywood stages or pedestals and that lends to amplifying the sharp, percussive attack people enjoy so much and expect to hear/feel - make sense?

[lestat26]

Originally Posted by Musiclab

12 inches is insanely too close for the application, at least 3 feet, try moving the panels out behind you

This is why I posted. I knew I was doing things wrong. I have moved the mic back and can hear a differecne. I can hear the whole guitar, not just a piece of it.

[lestat26]

Originally Posted by TurboJets

There's a lot of great advice here already and I'm a big fan of stereo technique for Flamenco. Some of my fave recordings are from Ottmar Liebert and he goes crazy with stereo experimentation.

Blumlein is the technique I use most for acoustic and nylon guitars (lead and rythm) and since flamenco is so crisp and percussive I find that to help capture the authentic feel of flamenco it's super helpful in a room like yours to put down some scrap plywood under the performer's chair and around the performance area. In Spain most live performances are done on plywood stages or pedestals and that lends to amplifying the sharp, percussive attack people enjoy so much and expect to hear/feel - make sense?

plywood,,,, I did that a while ago, but I was close micing. Now with all my grear feedback from everyone one here, I think I should pull it out again, thanks