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Old 2nd August 2005 | Show parent
 
Gear Nut
 
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Michael,

I wish I could recommend something that would suit your taste but I can't. I have a nice group of mics that I use when micing acoustic instruments but my approach is to use an appropriate mic for what part I have to record at that time. That also depends on how dense the arrangement is. I do this with just about every instrument I or others play and need to record.

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I've been recording myself mostly. What I've been doing in these unofficial shootouts is hit record and move, either myself and the guitar (rolling chair), or the mic around until it sounds good in the headphones.
That's the only way I know how to do it when I have to record myself. I also use 2 sets of cans, one open for mic placement and one sealed for recording. I either keep the pre's and daw controller within reach or have someone else help with those. I end up in some pretty interesting positions but none of them really too uncomfortable to record for short periods.

Quote:
What do you guys think of the Earthworks SR30 (aka SR77) at those distances (1.5 feet or more)
Anytime I'm using omni's or a LDC set to omni, It will always be very close to the guitar unless I'm micing the room for depth or special effect.

I don't really have a favorite mic for ac gtr. I tend to only record with with 2 steels and 1 nylon. They all sound totally different. I tend to pick either steel string guitar and mic combination for timbre more than anything else.

One thing that I started doing a LONG time ago and repeat every couple of years as a refresher is a mic shootout. (not only ac gtr).

It can be a real pain but it really helped me to get to know my instruments and microphones, what they do and the character they have.... how they sound on and off axis, how they sound on different parts of the guitar (or other instrument), how they "punch", how they react with nails and different guages of picks, what's better for percussive vs strums vs solo, etc, how different mics blend together, etc. Now when recording a part, it's relatively easy to pick an appropriate mic for the part. It's not about what sounds best it's about what sounds appropriate for the part and genre of music. I do have a "best" sounding mic for each gtr but to be honest I only use that when it's appropriate for the application. Once you know your mics, you can pretty much guage what each of your pre's will do to them (assuming you know them as well- although I've been majorly surprised more than once)

Over the years, this has worked much better for me than just using 1 or 2 standard mics. Hope this helps or sheds different light on the matter...