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Recording The Acoustic Guitar | |
Article from Recording Musician, October 1992 |
Everything you need to know to get a thoroughly professional sound onto tape, and how to treat it once it's there.
Recording the acoustic guitar is often considered difficult but, as Paul White explains, by following a few basic rules and applying a little thought, you can achieve good results every time.
Before thinking about microphone placement, it helps to consider just what it is we're hearing when a guitar is played. Some sound comes directly off the strings while the wooden body resonates and amplifies the sound, but in addition, we're hearing the sound of the instrument as it reflects from hard walls and furniture. This latter point is very important, as you can tell by listening to a guitar in a dead environment such as a bedroom or outdoors, and then comparing it to the sound of the same instrument played in a tiled bathroom or concrete stairwell.
"I'll often use two different mic positions that produce two quite different sounds from the guitar, and then pan these hard left and right to create a wide stereo image."
In a live situation, where feedback is always a problem, the normal approach is to stick a mic close to the sound hole, which is where most of the sound appears to come from. This gives us the loudest sound but, unfortunately, it also gives a rather boomy sound with no real detail. Heavy use of EQ can improve matters to the point that the sound is just about usable in a live context, but for making a serious recording, this method is virtually useless. Indeed, guitars with built-in pickup systems invariably sound better plugged into an amplifier than they do miked up right next to the sound hole. What is needed is an approach that picks up the sound from the strings, the whole of the guitar body and the room reflections, all at the same time.
If you don't have a naturally live room to work in, don't worry too much, as a little artificial reverb can be used to liven up the sound, but it helps to provide some acoustically reflective surfaces if at all possible. Simply placing a sheet of hardboard, shiny side up, on the floor beneath the player helps a lot, and if there's one hard wall that the player can face, then better still. If you have a great-sounding bathroom or hallway, then it is worth the effort of running some long leads out there to capture the real acoustic sound.
Acoustic guitars produce harmonics right up to the top of the audio spectrum so, ideally, you need a mic that has a good high-end response. Back-electrets and capacitor mics are significantly better than dynamic microphones in this respect, but whatever you have, give it a try. Even the cheap Tandy PZM (a low-cost, electret boundary microphone — see review in this month's 'Widgets') gives good results on the acoustic guitar. The type of microphone will make a difference to the sound quality, but the most important thing is finding the best place to put the mic. In most instances, cardioid (unidirectional) microphones tend to be used to reduce the spill from other instruments or external sources of noise, but omni mics can also produce excellent results and recording purists will argue that the results are actually better.
The closer the mic is to the sound source, the more of the direct sound it picks up and the less of the room reflections. If it's too close, you'll end up recording the sound from just one specific part of the instrument, and as we've already seen, the sound of a guitar is a combination of sounds emanating from all over the body, from the strings, from the sound hole and even from the neck. Conversely, if the mic is too far away, you'll end up with plenty of live ambience but little of the original sound of the instrument. Furthermore, the more distant the sound, the quieter it is and the more noise problems you're likely to encounter, especially with cheaper microphones.
The traditional mic position for the acoustic guitar is around 18" from the body, with the microphone pointed towards the point where the neck joins the body. This is far enough away to produce a decent representation of the overall sound, and by pointing the mic at the end of the neck, the contribution of the boomy sound hole sound is kept under control. If the sound is still too bassy, moving the mic further along the neck will brighten it. Moving the mic further away will increase the contribution of the room ambience, and even small variations can produce a large difference in sound, so experimentation is essential.
Another approach is based on the assumption that if the player is hearing a good sound, a mic placed near the player's ear will also pick up a decent balance. My preference, based on this observation, is to set up a mic on a boom stand and position it over the player's right shoulder (assuming a right-handed player), looking down at the body of the guitar. This nicely avoids the boom from the soundhole and generally produces a well-balanced tone with little or no extra adjustment. In all cases, I try to record with little or no equalisation and, if the tone is badly wrong for any reason, this should be corrected, if possible, by moving the mic rather than by reaching for the tone controls. This applies to all aspects of recording — if you get a good sound at source, the end result will always be better than trying to equalise an unsatisfactory sound.
For rhythm guitar work, a single-mic, mono recording is fine, but for folk work or solo guitar instrumentals, I like to work in stereo whenever I have enough tape tracks available. It is possible to use any of the stereo mic recording techniques outlined in the August issue of RM, but it isn't necessary to stick to purist techniques — indeed, it can be an advantage not to. Working on the principle that an artistically pleasing result is preferable to an accurate but less interesting result, I'll often use two different mic positions that produce two quite different sounds from the guitar and then pan these hard left and right to create a wide stereo image. An example of this is to use one mic in the 'looking over the shoulder' position and another 'looking' at the middle of the guitar neck from around a foot in front. The neck mic gives a bright, detailed sound with very little real body, while the other mic produces a fairly full, rich sound. Not only does panning these left and right create a convincing stereo effect, the different tonalities provide a means of warming or brightening the tone simply by changing the balance between the two mics.
If a singer/guitarist is recording songs in one take (as opposed to recording the guitar part separately), then get the guitar mic as close as you can without compromising the guitar tone and put the vocal mic no more than 12" from the mouth, with a pop shield, as described in the July issue of RM. Inevitably, some guitar will pick up on the vocal mic and vice versa, but this isn't usually a problem and can even be used to create the illusion of stereo if the guitar mic is panned a little to one side and the vocal mic to the other.
Once recorded, the sound may benefit from a little equalisation to make it match the other sound sources in the mix. For example, an acoustic guitar used in a rock mix might benefit from a degree of bass cut to 'thin out' the sound a little, in order to prevent conflicts with other low mid-range sounds — vocals, electric guitars or pad keyboard parts. Additional reverberation can be added, but in most cases, a short, bright setting will suffice. On advantage of adding artificial reverb is that a mono recording can be given a degree of stereo width and, even where adequate ambience has been recorded along with the guitar, an early-reflections setting can be used to create the illusion of stereo width without making the sound appear too reverberant.
Some engineers like to add compression to acoustic rhythm guitar tracks, and this is useful to make the sound appear more even, but it is far from essential, providing that the playing is proficient. The main thing is to get a well-balanced tone, a good performance and a little ambience or reverb to provide a sense of space. It's also possible to combine the output of a guitar pickup with a mic, one possibility being to pan the pickup sound to one side and the miked sound to the other. The only rules are — if it works, use it. Next month, I'll be looking at electric guitars and how to get just about any sound imaginable, from clean rhythm to really nasty rock!
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Feature by Paul White
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