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Acoustic mic techniques - 2 mics for blending tone (not for stereo imaging)
Old 1 week ago
  #1
Lives for gear
 

Acoustic mic techniques - 2 mics for blending tone (not for stereo imaging)

When recording electric guitar amps, I use 2 mics essentially in the same position (side by side) to capture the signal and then blend them to taste to get the tone I’m looking for.

Anyone do this for acoustic as well? Most of the 2 mic techniques I see for acoustic are to get some type of stereo imagining or capturing two different parts of the guitar....anyone here put two different mics (or an LDC and a dynamic or and LDC and ribbon) in the same spot on the guitar, and blend the tones to taste?
Old 1 week ago
  #2
My favorite combo is a Coles 4038 + Soyuz 013 Tube SDC. Sounds SO GOOD!
Old 1 week ago
  #3
Gear Maniac
 

Quote:
Originally Posted by theglow View Post
My favorite combo is a Coles 4038 + Soyuz 013 Tube SDC. Sounds SO GOOD!
Interesting...Any example/sample?
Old 1 week ago
  #4
Quote:
Originally Posted by johnjj View Post
Interesting...Any example/sample?
Nothing that’s been released yet, but I got the idea from reading about how they miked the acoustic on the latest Kacey Musgraves record... 4038 and KM56 I believe.
Old 1 week ago
  #5
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andychamp's Avatar
Not in the same spot, but I have, on occasion, blended a SDC (KMS105 or KM86, can‘t remember) over the playing-hand soulder, pointed at the picking hand, and a cardioid LDC (Gefell UM70s), pointed at the player from about 2-3 meters.
Nicely realistic roominess!
Old 1 week ago
  #6
Gear Maniac
 

Quote:
Originally Posted by theglow View Post
Nothing that’s been released yet, but I got the idea from reading about how they miked the acoustic on the latest Kacey Musgraves record... 4038 and KM56 I believe.
Thanks I'll check that out!
Old 1 week ago
  #7
Here for the gear
 

Anyone got any tips for phase aligning multiple mics on an acoustic, other than just trying to get the capsules as close as possible? Not shooting for a stereo spread- just blending them into mono. Wondering about doing something like that soon...
Old 1 week ago
  #8
Gear Nut
 
dranzangos's Avatar
My most recent session used an mk012 cardioid pointed straight on at the neck joint and a blue bluebird sl over the shoulder, i think both about 33” out. Lots of tonal range there with the oktava handling the more mid prominent tone and the bluebird bringing clarity and definition. Very 3D and great mono compatibility. So good, i just left em mono!
Old 1 week ago
  #9
Gear Maniac
 

Blend quite often too (mono, coincident) not necessarily with acoustic guitars, but with brass double bass, even vocals..

Last edited by johnjj; 1 week ago at 05:52 PM..
Old 1 week ago
  #10
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When blending, do you put the mics next to each other (side by side or too and bottom) with the capsules aligned? I was wondering if the goal was simply to get the blend of two mics like on lecwteic amps, then placing them together makes more sense than spacing them apart for phase alignment, and to allow the tonality of the mics to give the tonal difference rather than neck vs bridge area.
Old 1 week ago
  #11
Gear Maniac
I don't do what you are suggesting, but it would seem that alignment of the capsules would be important for phase. Otherwise the 3:1 rule would apply.
Old 1 week ago
  #12
Gear Nut
 
Ukiah Bass's Avatar
 

Blending can yield great results! Keep an open mind, try variations, make sure tracks are phase aligned and listen for what sounds good. For example, for double bass I put an omni LDC about 3 feet in front of the bridge. Blend that with an X/Y stereo pair of SDCs about 8 inches above where I pizz the strings. The blend is about 2/3 LDC and 1/3 SDC pair. The stereo pair adds a 3D dimension that feels like you are really "there." This pic shows the idea. At the time I used the pair of LDCs as mid-side with the lower LDC in omni and the upper LDC in cardioid. I preferred the omni only but M/S also sounded great!.

Old 1 week ago
  #13
Gear Maniac
 

Quote:
Originally Posted by theglow View Post
Nothing that’s been released yet, but I got the idea from reading about how they miked the acoustic on the latest Kacey Musgraves record... 4038 and KM56 I believe.
I gave a listen to 'Slow Burn'..sounds good!
(player/guitar are good too of course)

I'll try that on my next acoustic guitar session..
Funny enough I've blend ribbons and condensers on other sources, it can work really well (you have to make sure they're in phase) but I've never tried on acoustic guitars.

Do you place capsules next to each other?
Old 6 days ago
  #14
Quote:
Originally Posted by johnjj View Post
I gave a listen to 'Slow Burn'..sounds good!
(player/guitar are good too of course)

I'll try that on my next acoustic guitar session..
Funny enough I've blend ribbons and condensers on other sources, it can work really well (you have to make sure they're in phase) but I've never tried on acoustic guitars.

Do you place capsules next to each other?
I can’t speak to the placement in that record, but yes I put the SDC right on top of the 4038, both about 1’ above and 1’ back from the sound hole, pointing down towards it. Blend the mics on 2 faders to taste. HPF as necessary.
Old 6 days ago
  #15
Gear Maniac
 

Quote:
Originally Posted by theglow View Post
I can’t speak to the placement in that record, but yes I put the SDC right on top of the 4038, both about 1’ above and 1’ back from the sound hole, pointing down towards it. Blend the mics on 2 faders to taste. HPF as necessary.
Great! thanks a lot!
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