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Any advice about recording an acoustic guitar at home (music sample)? Studio Monitors
Old 1 week ago
  #1
Here for the gear
 

Any advice about recording an acoustic guitar at home (music sample)?

I read many pages about how to record an acoustic guitar in general and how to do it at home.

In the end I decided to try and record in the living room (3 meters high), full of books + a sofa + a big window + a wall covered with a thin wooden panel.
(See the attached image)

The guitar is a cheap Baton Rouge AR22 with Martin Silk & Phosphor brand new strings, played in fingerstyle with the fingertips by a not too skilled guitar player (me, started learning guitar just before Xmas).

The guitar mic (the blue one) is an LDC Studio Project C3 on cardioid placed at 8", facing the joint between neck and body.

There is some voice bleeding into the guitar mic and I'm still trying to understand how to minimize it.
The C3 is switchable on a figure 8 pattern so I will make a test with that one
rotated so that the best off axis spot will point to my mouth.

Here is the recorded guitar track, dry and with only a low cut at 95Hz.



Is that a bad starting point?
Is there anything I can save or improve with placement of the mic or of the player?
Or with any EQing?
Or else?

Any help will be much appreciated.

Thanks.
Attached Thumbnails
Any advice about recording an acoustic guitar at home (music sample)?-living-room.jpg  
Old 1 week ago
  #2
Gear Guru
 
Drumsound's Avatar
Figure 8 can help minimize vocal bleed, though its not terrible in this context, if there's also a vocal mic, and sounds good, and the guitar bleed is pleasing. With a figure 8 pattern, the null goes 360 degrees, so you can angle the top mix toward the mouth. If you have 2 figure 8 mics, the other can have the null pointed at the guitar. It can be amazing how much separation you can get.
Old 1 week ago
  #3
Here for the gear
Try moving that guitar mic back by about 4 inches and over to the left (as you're facing the mic) by 2-3 inches, but still keep it angled toward the same aiming point, might cut down on the boominess of that guitar. I'm hearing some proximity effect I think. You're doing great for only starting guitar last christmas!
Old 4 days ago
  #4
Here for the gear
 

Quote:
Originally Posted by Drumsound View Post
Figure 8 can help minimize vocal bleed, though its not terrible in this context, if there's also a vocal mic, and sounds good, and the guitar bleed is pleasing. With a figure 8 pattern, the null goes 360 degrees, so you can angle the top mix toward the mouth. If you have 2 figure 8 mics, the other can have the null pointed at the guitar. It can be amazing how much separation you can get.
This is made with the C3 on figure 8, moved slightly to the left, towards the palette.




And this is the voice recorded with a TB1 (Studio Project valve mic) on
cardioid pattern




Do you think I can get a better separation easily or should I be happy with what I've got (separation wise)?

Thanks.
Old 3 days ago
  #5
Gear Guru
 
Drumsound's Avatar
Quote:
Originally Posted by fabiospark View Post
This is made with the C3 on figure 8, moved slightly to the left, towards the palette.




And this is the voice recorded with a TB1 (Studio Project valve mic) on
cardioid pattern




Do you think I can get a better separation easily or should I be happy with what I've got (separation wise)?

Thanks.
There's very little voice on the guitar clip, I'd be super happy with that. The voice clip isn't playing, or isn't there or something. I think you're on the right path.
Old 3 days ago
  #6
Here for the gear
 

Thanks for your help.

The voice track (now should work) it's even better, in separation terms.

Next question is:
"which effects and with which settings should I apply to the two tracks in order to get an ambientation similar to the one you can hear in "Danny boy by Eva Cassidy?"

Just a reverb?
Same settings for voice and guitar track?

I understand what the different parameter of a reverb are for but I'm
not able to translate what I hear in the original track into "how much predelay"
or "how much decay" or "how much diffusion" etc. to get to that sound.

Again, any help will be much appreciated.

Thanks.
Old 2 days ago
  #7
Gear Guru
 
Drumsound's Avatar
Quote:
Originally Posted by fabiospark View Post
Thanks for your help.

The voice track (now should work) it's even better, in separation terms.

Next question is:
"which effects and with which settings should I apply to the two tracks in order to get an ambientation similar to the one you can hear in "Danny boy by Eva Cassidy?"

Just a reverb?
Same settings for voice and guitar track?

I understand what the different parameter of a reverb are for but I'm
not able to translate what I hear in the original track into "how much predelay"
or "how much decay" or "how much diffusion" etc. to get to that sound.

Again, any help will be much appreciated.

Thanks.
You're getting great separation, Figure 8s are wonderful.

On the reverb, Thats a hard one to know what it is. I'd start with a clear medium to long room. The thing I often spend the most time on is predelay. I feel like it can make of break a reverb. It allows the voice to be clear and articulate before the reverb blooms. On this one I feel like the vocal doesn't have much (if any) compressioin, and the send to the reverb isn't super hot, because its only noticed when she sings "bigger." Do you know when this was recorded, or where?
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