There are various ways to mic the various instruments used
in a recording studio. Every engineer
you talk to will likely have several methods he or she uses to achieve certain sounds. Likewise, musicians will argue they know ways
of obtaining that certain sound, the one that will make the recording come alive, while lending the natural warmth and body possessed
by the respective instrument. Still,
some are more difficult to mic than others, and the acousticguitar is no exception.
As a general rule, the particular mics used and the way in
which you choose to arrange them will depend greatly on the sound you want
conveyed on the final product. For example,
you would want your acoustic guitar to sound different on a country song than
you would a jazz recording. Even so,
there are simple techniques you can employ to help you capture the true sound
of your instrument, while garnering the depth and presence you desire.
There are many factors that play a part in how the acoustic
guitar is actually miked. As already
stated above, the style of music makes a difference, as do the recording environment, room size, and musician’s
style of playing. Still, no matter how
large or small the room is, there is one way of recording
the guitar that has proven reliable in almost any
situation. Using two microphones to
produce a stereo recording is a great way to obtain that full-bodied realistic sound you here when playing the guitar. There are three popular techniques used to
achieve this.
In most cases, close miking is a good idea. This involves placing a pair of cardioid,
(unidirectional) microphones approximately six to twelve inches away from the
instrument. This technique is used in
many pop and contemporary recordings that feature acoustic guitar tracks. Cardioid mics are usually best for close
miking the acoustic guitar because they exhibit less bass proximity effect than
other directional types when placed close to the miking source. Remember, you can always add more bass if
necessary, but it is not always possible to remove the boominess that can occur
if incorrect mics or techniques are used.
One stereo technique is to place the two mics apart from one
another at the same approximate height, one pointing at the twelfth fret of the
guitar, the other at the bridge. This
helps equalize the sound, while picking up at two of the most crucial points of
the instrument. This will also even out
the sound, giving it depth and body.
When employing a stereo technique, it is a good idea to follow the
“three-to-one” rule. Here, the distance
between the two mics should be at least three times the distance between each
mic and the sound source. This keeps phase
cancellations to a minimum which results in a smooth sound that translates well
to the recording. For example, if you
place each mic seven inches from the guitar, you would then place the two mics
twenty-one inches apart. There are, of
course, exceptions to this rule, but in general practice, it is very effective.
A second technique is performed much like the first, except
that the second mic is placed on a stand and pointing down at the musician’s
ear level, or at the bridge or strings.
The first, like before, points to the twelfth fret. The second mic is placed differently so that
it is located just behind the sound hole of the guitar. This technique will actually provide you with
a more realistic sounding guitar track, and will closely resemble the sound you
here when the instrument is played live right in front of you. Again, be sure to follow the three-to-one
rule.
You can also move the second mic slightly out in front of
the performer, angling it back toward the guitar, instead of pointing it
straight down at the floor. This will
give you a thinner, brighter sound.
Again, it really depends on what you want out of the finished product.
A third technique is the X-Y technique. This is also used when miking drums when you
want to use overhead mics to pick up the overall sound. For this technique, two mics are placed
slightly above one another with the capsules (or front ends) spread apart at an
angle of 90 to 120 degrees. Here, the three-to-one
rule does not apply because the sounds are reaching each mic at approximately
the same time. This, in effect,
minimizes objectionable phase cancellations, and gives you a closer sound. To begin, place the mics opposite the 12th
fret of the guitar. If the recording
room has a great sound, try backing the mics up a distance of one to two feet
of the guitar, so as to capture more of the room tone as yield a more natural
sound. While the overall sound can
depend on the room, the guitar, and the mics, placing the mics around seven
inches in front of the twelfth fret will tend to emphasize the mid range sound
of the instrument.
Again, the technique you choose will depend on the overall
sound and effect you are trying to achieve.
Try experimenting with different techniques, mics, and even rooms. Each
can make a big difference, and it just may be worth that one last try in order
to capture that perfect sound.
