Recording
Luciano Treachi
30/01/2023
Introduction
Acoustic guitar is such an expressive instrument, and miking it to capture all of the nuances is incredibly satisfying. I have a few methods of recording acoustic guitar that I'm happy to share. Let me preface this by saying that the importance of having a well-maintained guitar that is played well can't be overstated.
Crafting the right sound on acoustic guitar?
It's completely dependent on the role of the acoustic guitar in the track. If the acoustic guitar is the focus and feature of the song, panned down the middle like a lead vocal or solo instrument, small-diaphragm mics tend to work better for me. I typically want a very detailed, upfront sound, so I start with the mic pointed at about the 12th to 15th fret. Then, in addition to the close mic, I'll add a pair of omni mics set up in a triangle configuration, left and right equidistant from the close mic to give me distance and ambience. That gives the guitar a three-dimensional sound. I like to use DPA mics with the acoustic pressure equalizer balls that focus the high end a bit more. The distance between the stereo mics and the guitar depends on the room, the instrument, the part. Usually they are 18″ 24″ away, unless it's a super-gentle part where I might need to bring them in closer. The close mic is probably only 2″ 4″ away from the strings — really close, unless it's a big, strummy part.
The location of the microphone
A lot of times in the track the acoustic guitar is performing the function of a percussion instrument, like
a tuned shaker. If I'm going for a stereo percussive effect, with lots of pick and not a lot of body, the
placement of the microphone is absolutely crucial. The closer you get to the soundhole, the more woof and
low end you'll pick up. Put a small-diaphragm condenser mic right on the soundhole, and you'll be
overwhelmed with low end. If your mic is poorly placed, the mic choice is almost inconsequential.
I really like to hear notes from the acoustic. I'd rather have tone than just percussion. I'm not a huge fan
of bright mics on acoustics — anything that pings my ear at 6kHz or so. I just don't want that competing
with my cymbals and other instruments. I'd rather have the guitar be more midrange, more “note” than
“scratch.”
The key to me is the song. If the song is super strummy and I'm going to double it, then tailoring the low
end is crucial. I think acoustic guitars tend to rock really hard. Some people don't understand how much
acoustics can rock. Look back at rockabilly or any music before electric guitars were really a feature, like
back to Pete Townshend and the Who. For that, a large-diaphragm condenser mic moved farther away from the
instrument might be the perfect sound, with a little more of the room in play.
