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Recording the Classical Guitar

An in-depth look at recording the classical
guitar...
By Robert Auld
Imagine that I am a typical pop music
engineer, and I get called up for advice on
how to record a classical guitar:
Rrrrring!
Hello, AuldWor ks Recording, Bob
speaking....OK, you have a solo guitar
recording. Piece of cake; just put an SM57 in
front of the amp and yer done....Whaddaya
mean theres no amp?...Oh, you got some of
that Bach and Segovia stuff, huh?....Well,
gee, I dunno. Most of the sound comes out
that hole in the front, right?....You tried
that....It sounds boomy?....Didja try
switching in the bass rolloff?...You did...It still dont sound good...Well, I really dunno what to
tell ya...
All right, stereotypical pop music engineer. But you get the point; classical acoustic guitar is a
very different animal from its amplified descendant. Just sticking this months hot microphone in
front of it will not necessarily satisfy you, or the guitarist (whether that is you or a second
party).
Whats going on in there?
To get a handle on how best to record classical guitar, lets start with some acoustical analysis.
Here is how Harry F. Olson describes the instrument in Music, Physics and Engineering (1):
The acoustic guitar consists of six strings stretched between a combination bridge and tailpiece
fastened on the flat top of the body and the end of a fretted fingerboard. The body is made of
two flat parallel boards, fastened together along the outer edges. Vibrations of the strings are
transmitted from the tailpiece to the top of the body. The bottom of the body is mechanically
coupled to the top by means of a post. The cavity of the body, coupled to the outside air by
means of a hole, constitutes a resonator. The top and bottom of the body and the cavity and
port combination form a multiresonant system for coupling the vibrating strings to the air.
One consequence of this multiresonant system is a directional sound pattern that varies with
frequency, sometimes almost from note to note. At low frequencies, the directional pattern of
the guitar is a figure of eight, which is characteristic of an acoustical doublet. That is, the top
and bottom of the body vibrate approximately in phase, connected as they are by the sound
post. In the mid-frequency range the directional pattern starts to show lobes, as the top and
bottom are no longer in phase, so we get cancellation effects. In the high-frequency region,
most of the radiation comes from the top of the body. There is very little coupling between top
and bottom in this range because of the large mass of the post and bottom, so that the amount
of high-frequency vibration transmitted to the bottom is very small.
Clearly, if we try to close-mike the acoustic guitar, the results will vary greatly depending on the
exact position of the microphone relative to the body, the register in which the instrument is
played, and the amount of proximity effect inherent in the particular microphone we have
chosen.
When we add in differences between instruments and variations in playing styles, it is no wonder
that there seem to be as many different acoustic guitar recording techniques as there are
engineers.
Give me some space
When recording solo classical guitar, we do have a way out of this mess: we can move our
To have a Sound Tools system in which the final product is a CD would be
amazingto have it pop out of a little black box onto your desk!- Evan Brooks of
Digidesign



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microphones back, and so pick up the whole instrument in the perspective of the room. This
method implies several things:
1. We need microphones with low off-axis coloration, as they will be hearing at least some of the
room acoustics, which approach from all angles. In many cases, this means small-diaphragm
condenser mics.
2. The instrument is not very loud, and is often played with great subtlety. The sound pickup is
not very close. Microphones with low self-noise and mic preamps that can add a lot of gain
without adding a lot of noise are an advantage.
3. The recording room needs to be fairly quiet, should have decent acoustics, and should not be
too small. A medium-sized domestic living room is probably the lower limit, and in that case you
might want to add some reverb to create the impression of a larger room.
In any case, good results will depend on intelligent application of classic stereo microphone
techniques. Here are some of the options available:
Spaced pair omnidirectional
You usually need a really good sounding room to get away with spaced omnis, but given that,
the sound can be exceptional. As you are recording a solo instrument, you do not need wide
spacing between the microphones; eighteen inches or so should work just fine. Distance from
the microphones to the instrument will vary, depending on room size and acoustics. For a fairly
intimate sound, you might try starting at about three feet back. Larger rooms may allow more
distance. Experiment.
One thing to avoid is microphones with a pronounced high frequency peak. Good classical
guitarists do not like hearing a lot of string and finger noise on playback, and hyped high
frequencies will emphasize those noises. Good omni condensers with extended, flat high end
response are available from Earthworks, Schoeps, Sennheiser and Crown, to name just a few
likely contenders.
Another consideration is floor bounce. With conventional microphones mounted on stands, sound
bouncing from the floor will interact with the direct sound arrival, producing a comb filter effect.
Audibility of the effect will depend on timing, which varies with microphone and sound source
position, and the floor material (reflective or absorbent). Here is where minor adjustments in
microphone position can make a surprising amount of difference.
One way of avoiding floor bounce problems altogether is to place the microphones on the floor.
This can be done with conventional microphones (placing them on a foam pad can help avoid
picking up floor vibrations), but is better done with microphones designed for the purpose. The
Crown PZM series of microphones are the best known example.
The PZM uses a small-diaphragm omnidirectional mic element facing a mounting plate at a very
small distancea small fraction of an inch. When the mounting plate is placed on the floor, the
mic element is said to be in the pressure zone of the floor, and achieves a uniform hemispherical
response above the floor (hence the name PZM, Pressure Zone Microphone).
Floor-mounted microphones can also be an effective live concert recording technique; the low
profile of a pair of floor-mounted microphones may be acceptable where stand-mounted mics
would not be.
A final consideration with spaced omnis: the monophonic compatibility is potentially poor, as the
two spaced microphones, when combined in a single channel, can produce a comb filter effect
just by interfering with each other.
Blumlein pair
This is another technique where a really good sounding room is important. Again, given a good
room, the results can be outstanding. Named after Alan Blumlein, the great British engineer who
first outlined this technique in the 1930s, the Blumlein pair uses two crossed figure-eight pattern
microphone elements. While it can be implemented with separate microphones, it is far easier to
use a stereo microphone that can be adjusted for crossed figure-eight patterns. One example is
the Royer SF-12 (reviewed June 2000), which uses two ribbon elements oriented 90 degrees to
each other. The SF-12 has a rather low output level, but the smooth response of the ribbon
elements make it otherwise well suited to guitar recording. Other stereo mics that will work
include the Neumann SM 69FET and the AKG C 426 B. These are very expensive microphones
(the Neumann lists for over $5000), but their quality is similarly high.
The Blumlein pair has a number of advantages for this type of recording. The figure-eight
pattern tends to discriminate against floor bounce in the vertical plane, the rear lobes pick up
room ambience in stereo with low coloration, the off-axis response of figure-eight pattern
microphones tends to be much more uniform than that of other directional microphones, and the
monophonic compatibility is inherently good.
In the right kind of room, a Blumlein-pair recording can give you a stereo image that verges on
the holographic. However, in an unsuitable room, a Blumlein pair will mercilessly reveal just how
unsuitable the room is. And in live concert recording, there will be no suppression of audience
noise.
X-Y stereo
X-Y stereo is usually implemented with a pair of cardioid microphones placed at a single point,
angled 90 degrees from each other. Wider angles can also be used, for a wider stereo image. X-
Y stereo tends to pick up less of the room than the previously described techniques, and so can
be useful in smaller rooms, or for discriminating against audience pickup in live concert
performances. The coincident placement of the two mic elements ensures good mono
compatibility. The stereo image of the X-Y technique tends to be narrower (especially over
headphones), and reproduces room ambience less well than some other stereo techniques.
When X-Y stereo is used to record a solo instrument, the direct sound approaches each
microphone from about 45 degrees off-axis. Cardioid-pattern microphones typically have


rougher off-axis response than omni or figure-eight types, especially in the case of the large-
diaphragm models commonly used for studio vocal pickup. For that reason, a pair of the
Chinese-made condenser studio mics that are so popular right now may not be the best choice
for recording solo classical guitar. Small-diaphragm condenser mics, such as the Shure SM81 or
Crown CM-700, will probably give more predictable results, given their more uniform polar
patterns and smooth overall response.
There are also a few dedicated stereo microphones that will record in the X-Y pattern. Audio-
Technicas AT822 and AT825 are examples of inexpensive (under $500) X-Y stereo mics. For a
bit more money (under $900) you can get the RDE NT4. The high-priced Neumann and AKG
stereo mics mentioned previously can also be set for X-Y stereo.
ORTF
A close relative of X-Y stereo, ORTF also uses two cardioid elements, but they are spaced about
seven inches apart and angled away from each other 110 degrees. This quasi-human ear
spacing ensures excellent imaging on headphones and also works well with loudspeakers, at the
expense of some mono compatibility. ORTF picks up about the same amount of room ambience
as X-Y stereo, but seems to spread it wider in the stereo imageno doubt a function of the
spacing between the microphones. The cautions against using microphones with poor off-axis
response in X-Y stereo also apply to ORTF, for the same reasons.
Dedicated ORTF microphones are fairly rare; Schoeps makes one, but I am not aware of any
others. However, it is common to implement ORTF (or a close approximation) using a pair of
conventional microphones mounted on a stereo T bar.
Mid-side (M-S) stereo
Mid-side stereo uses a middle element (usually cardioid, though it can theoretically be any
pattern) facing straight at the sound source, and a bi-directional (figure-eight) element facing
sideways. The middle element is responsible for the monophonic element of the sound, and the
bi-directional mic picks up left and right. The two elements are then matrixed together to
produce the L/R stereo output; this fancy-sounding but very simple operation can be done on
any mixer with polarity inversion on its inputs, or in a dedicated box.
The big advantage of M-S is that you can adjust the ratio of the two elements for more or less
room ambience and stereo spread without moving the microphones. With the right setup, this
can even be done remotely during a live performance, or afterwards at mixdown. (To accomplish
the latter, you record the mid element to one track and the side element to another, leaving the
matrixing until later.)
Mono compatibility of the mid-side array is as good as it gets; when the two channels of a
matrixed M-S recording are combined the side part simply cancels, leaving the monophonic mid
element. For this reason, M-S stereo has been very popular with broadcasters. Off-axis
coloration is much less of a factor with M-S stereo than with X-Y or ORTF setups; the mid
element is pointing right at the sound source and the side element is a figure-eight pattern mic,
inherently smoother off-axis than other directional microphone types.
M-S stereo can be implemented with two conventional microphones, but it can be a bit awkward
to do. Sennheiser is one manufacturer that tries to make it easier, with a special bracket for
holding the respective mics from the MKH series in proper orientation.
Dedicated M-S stereo microphones are more practical, and there are a number available. At the
reasonable end of the price scale, Sony offers the ECM999 (under $500), which is reputed to be
a very good value. Moving up to just under one grand, there is the Shure VP88, a full-fledged
stereo field recording mic that happens to be a very good quality music recording mic as well.
And if price is no object, the Neumann SM 69FET and AKG C 426 B can be used in M-S
configuration. Many broadcast organizations use them in just that way.
Surround sound
When recording solo classical guitar, the main point of surround sound will be to reproduce the
sound of the room. The front channels can be fed by almost any of the stereo techniques
described previously, and the surround channels can be handled by a pair of mics out in the
room. Spaced microphones are usually thought to be superior to coincident stereo pickups for
reproducing surround ambience; their output decorrelates better.
If a front center channel feed is considered necessary, combining spaced microphones for the
left and right front channels with a center channel microphone would likely work. Mono
compatibility (and stereo downmix compatibility) would be variable, depending on things like
relative microphone positioning and balancing.
Classical guitar with other instruments
If you are recording the guitar with other instruments of about the same loudness, such as other
guitars, flute, etc., the recording becomes an exercise in recording a group of musicians in a
given room. If the room is large enough that you can record everybody with a simple stereo
pickup, it is largely a matter of moving the musicians around relative to the microphone array
until the balance is satisfactory.
If the room is too small for recording everybody with a pair of microphones, you will have to use
more microphones, closer to the musicians. In the case of the guitar, try not to get any closer
than necessary, and pay special attention to proximity effect if using directional mics. A cardioid
mic with a healthy bottom end can get boomy pretty quickly if too close to the body of a guitar.
Be prepared to use equalization and reverb as needed. This is not an ideal recording situation,
so dont be afraid to try whatever methods might help the sound.
If you are recording a guitar concerto with orchestra, the orchestra will be far more powerful
than the guitar, and you will have no choice but to spot-mic the guitar. I would recommend using
a small-diaphragm cardioid condenser with a smooth top end (Shure SM81, Crown CM-700,
etc.). Point the mic right at the guitar from about 18 to 24 inches away. As your objective is to
give the guitar a little boost over the orchestra, this should do the trick without overdoing it. If
you feel the guitar spot pickup is too monophonic sounding, use two microphones in the same
position, pointing at the guitar, about 6 to 7 inches apart. Pan them left and right. This will give
you a stereo spot pickup, which may blend better with the stereo orchestra pickup.
Classical guitar and sound reinforcement
Due to the need to prevent feedback, especially from on-stage monitor speakers, use of a sound
reinforcement system often requires close microphones on virtually all instruments, especially a
soft one like classical guitar. Even with careful choice of microphone and placement, the result
will be a compromise. If the sound reinforcement microphone seems well chosen and placed,
using a microphone splitter for your guitar recording feed should work adequately. If the sound
reinforcement mic is something along the lines of an SM57, you might be better off setting up a
separate guitar recording mic if possible.
I know of one classical guitarist who uses a high-quality portable sound reinforcement system
for performing with classical groups that would otherwise overbalance him. He uses a Schoeps
cardioid condenser mic on a short stand, a high-quality mic preamp and a small, powered
loudspeaker made by Meyer Sound. This little purpose-built system sounds very good and
blends well with the acoustic chamber groups with which this artist performs. When recording
those groups, I have not found it necessary to spot-mic his guitar; the Meyer speaker is picked
up adequately by the main stereo microphone. You may want to experiment with setting up a
similar system if the situation warrants.
The recorder question
The main requirements for recording machines used for recording classical guitar are: wide, flat
frequency response, low noise, low distortion and little or no wow and flutter. Most digital
recorders will be satisfactory, provided data compression is avoided. This does not mean you
cannot get good results when recording with a MiniDisc recorder, but if your objective is a
commercial quality master, the MiniDisc should not be your primary machine.
In the analog domain, a professional quality open reel machine operating at 15 ips tape speed is
probably the minimum. Analog cassette is not recommended, mostly due to the wow and flutter
typical of that medium. Also, acoustic guitar is one of the instruments most likely to reveal any
weakness in analog noise reduction schemes. The sharp transient attack and limited sustain of
the guitar work against the psycho-acoustic masking of tape hiss.
In conclusion
The normal objective in recording classical guitar is to create a realistic illusion of how the
instrument sounds in a good room. Using good stereo microphone technique in an acoustically
suitable room is the surest way to accomplish that.
This does not mean that you cannot use the techniques of the pop music studio to modify the
sound of the instrument. But if you want the classical guitar to sound like itself, typical studio
close-miking techniques are not ideally suited to that purpose. As always, choosing the right
tools and techniques for the job can make a big difference in the final result.
(1) Music, Physics and Engineering by Harry F. Olson, 2nd edition (New York: Dover Publications,
Inc.), p. 114.
Robert Auld is an independent audio engineer who works in New York City. Reports on his
further adventures may be found at www.auldworks.com.

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