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Recording acoustic guitars in stereo Condenser Microphones
Old 31st January 2003
  #31
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Roland's Avatar
I have a pair of Schoeps 221b's and they are very sweet (AC701 valves)! I also would endorse the KM84's and alike. had good results with U67's too.

The only thing I would add further to the comments taken from the Massenburg interview is that MS can give you a really stable and focused centre image, however real care has to be taken "spreading it wide" as George puts it. If you spread the image with MS it sounds wide, wider, wider still, then flips out of phase. However much easier to focus your soundstage using this technique than say with a crossed pair or AB pair.

Regards

Roland
Old 1st February 2003
  #32
M2E
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Well I knew a guy by the name of Charles Fearing that had his Ac. Gtr made with dual pickups inside. Man I have to say I have yet to hear a gtr or see one sound better. Not to mention that he is a great player at that. He's been on a lot of records. Can't think of them now, sorry. If I was a guitar player I would invest in something like that.
This is what he said he had made for him.
I can't remember exactly but here we go.
The first three top strings were mic'd with one pickup and the bottom three were with the other pickup.
He said that they were the best pickups around. Mind you this was about 7 years ago. It sounded so wide and clean. It had of course two outputs, L/R and I put those two cable in my Demeter and it was all good.
I'm sure there are better pickups even now if you decided if you want to build or get one built for you.
Does anybody know who does that? I'm interested the more I talk about it. I would love to have that around in the studio.

Hope this helps.....

M2E
Old 1st February 2003
  #33
Han
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Quote:
Originally posted by Curve Dominant

BTW: That's mixed to one mono channel. For stereo, track that twice, and pan to taste.

Eric, with all respect, but tracking a guitar twice has nothing to do with stereo recording.

Record your guitar with an ORTF pair of KM(1)84's and you'll be surprised by the realism you will experience by listening through a decent pair of cans

Peace, Han
Old 1st February 2003
  #34
[QUOTE]Originally posted by Messiah
[B]That's what I was saying anyway. If you take a snare as an individual source, you wouldn't spread out the top and the bottom mics left and right. I don't think the "tends to put the kit in stereo" comment has any baring on this because we're talking about an individual source and all the overheads do is put that source in context with other sources.

I kinda see acoustic guitars in a similar way to the top and bottom approach of a snare, so I rarely separate the fingerboard from the soundboard. I don't hear acoustic guitar as a stereo source, so I tend to treat them accordingly, and IMO, naturally. You need to get VERY close to an acoustic to get a stereo impression of it, which isn't a natural listening position. I think the interaction between an acoustic and the room ambience is more important and a more natural way of achieving imaging and depth that allows vocals to take center stage. I also usually imagine and mix them as part of the rhythm track./"
------------------------------------------------------------------------------------------------
My point is a snare sound on a drum kit,is NEVER just the close snare mic. Its the interaction of all the mics on the kit, especially the overheads. I think of the drum kit as one instrument. By the way, I rarely use a mic on the bottom of the snare. An acoustic guitar is a way different animal.
You never put the mics so close that you get a discrete this is the fingerboard, this is the bridge. If I'm doing a fairly naked track with acoustic guitar I prefer to get it in stereo. If there's lots going on, I might want it in mono. Recording an acoustic in stereo never compromises the sound in my opinion. Provided its recorded right
Old 5th February 2003
  #35
Gear Maniac
 
wurly's Avatar
 

Hot Rod Guitar

For acoustic guitar, I use a matched pair of AKG452s with omni capsules, modded by Stephen Paul, using.9 micron diaphragms. Eight to nine inches from the guitar, one near the top of the neck/soundhole, and the other near the lower bout, usually angled up at the guitar. These positions vary depending on the guitar.Let yours ears guide you on placement.

For mic pres I use an Ampria (solid state, transformerless & colorless). Then to a pair of Eddie Cilletti modded LA4s at 8/1 to do a little smoothing.

I almost forgot the most important part, a Roc-N-Soc stool with back!

Delicious and nutritious. Love that hot rod gear.

Skip Ovations. They are for stage. Also, mother of pearl does not enhance sound. Get a guitar that sounds good, looks don't matter in the studio (for guitars anyways). Fresh strings are mandatory.

Lots of drums in the headphones often helps too.

Pickups in the studio are optional, and should only play a small part in the overall sound if any. If you want a lot of pickup sound, why use an acoustic?

wurly
Old 5th February 2003
  #36
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David R.'s Avatar
 

OK, I'm ready to be spamed/flamed/ridiculed.

I have had great results using C1000s for stereo accoustic guitar. One between the sound hole and bridge at a 45 degree anlgle pointing up and towards the hole. The other on the neck around the 7th fret (relative if a capo is used) also at a 45 degree angle towards the hole. Check for phase, check for phase check for phase.

Pan hard L & R.

Sometimes I use a AT 4050 on the body. Depends on the guitar and player. Sometimes a TLM 103.

I have never heard a pickup that I wanted to use on accoustic, except for an effect track (chorus). Ovations sound great when they are in their case and not being played. grggt

That's me, your smileage may vary.
Old 6th February 2003
  #37
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groundcontrol's Avatar
 

Quote:
Originally posted by David R.
...Ovations sound great when they are in their case and not being played. grggt
Or burning in the fireplace...
Wait a minute... that **** must stink and put out a ton of dangerous smoke...
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