Acoustic
Guitar
Recording
Techniques
–
Notes


The
audio
files
should
be
loaded
into
a
digital
audio
workstation

software
for
auditioning.

The
following
microphones
are
intended
to
provide
a
mono
signal:
A,
B,

C,
D,
E,
F,
I,
J,
K

Microphones
G
and
H
form
a
stereo
pair.

Any
two
microphones
from
A,
B,
C,
D
can
be
used
to
form
a
stereo
pair.

Microphones
Y
and
Z
are
for
stereo
ambience.
They
should
be
panned

hard
left
and
right.
They
may
then
be
mixed
with
any
other
microphone

combination.

Microphone
Positions

In
this
Multimedia
Set
there
are
13
microphone
positions.
Please
see
the

photographs
and
videos
for
scale
and
perspective.

A
 Bruel
&
Kjaer
4011
pointing
halfway
between
the
sound
hole
and

the
end
of
the
instrument
from
a
distance
of
approximately
25

cm.

B
 Bruel
&
Kjaer
4011
pointing
directly
at
the
sound
hole
from
a

distance
of
approximately
25
cm.

C
 Bruel
&
Kjaer
4011
pointing
at
the
join
between
the
neck
and
the

body
of
the
instrument
from
a
distance
of
approximately
25
cm.

D
 Bruel
&
Kjaer
4011,
pointing
at
the
neck
of
the
instrument
from
a

distance
of
approximately
25
cm.

E
 Bruel
&
Kjaer
4011
pointing

down
at
the
sound
hole
from
a
height

of
approximately
110
cm
and
a
distance
of
approximately
50
cm.

F
 Bruel
&
Kjaer
4011,
a
general
pickup
of
the
whole
instrument
from

a
distance
of
approximately
1
meter.

G
 Bruel
&
Kjaer
4011,
the
left
microphone
of
a
spaced
stereo
pair,

pointing
slightly
to
the
left
of
the
sound
hole
from
a
distance
of

approximately
50
cm.

H
 Bruel
&
Kjaer
4011,
the
right
microphone
of
a
spaced
stereo
pair,

pointing
slightly
to
the
right
of
the
sound
hole
from
a
distance
of

approximately
50
cm.

I
 Bruel
&
Kjaer
4011
pointing
at
the
join
between
the
neck
and
the

body
from
a
distance
of
approximately
25
cm.

J
 Bruel
&
Kjaer
4011
pointing
at
the
join
between
the
neck
and
the

body
from
a
distance
of
approximately
5
cm.

K
 Neumann
M147
pointing
at
the
join
between
the
neck
and
the

body
from
a
distance
of
approximately
25
cm.

Y
 AKG
C414B‐ULS
set
to
cardioid
3
meters
in
front
of
the
guitar,
1.5

meters
to
the
left.

Z
 AKG
C414B‐ULS
set
to
cardioid
3
meters
in
front
of
the
guitar,
1.5

meters
to
the
right.

Video
Parts
1,
2
and
5

The
guitar
is
a
Brook
(manufacturer)
Teign
(model).

Video
Parts
3
and
4

The
guitar
is
a
Martin
OM
21.

Points
of
Interest

Each
microphone
position
gives
a
different
‘interpretation’
of
the
sound

of
the
instrument.

There
is
no
one
correct
position.
All
should
be

considered
according
to
personal
preferences
and
the
needs
of
the

client
or
market.

Note
the
differences
in
low‐frequency
and
high‐frequency
content

among
the
various
positions.
Also
note
any
unpleasantness
in
the
middle

frequencies
that
some
positions
can
emphasize
with
certain

instruments.

Note
the
differences
in
extraneous
sound
pick
up
–
plectrum
noise,
left

hand
finger
noise
etc.

Note
the
difference
in
sound
quality
of
the
Neumann
M147
large‐
diaphragm
vacuum
tube
microphone
compared
to
the
Bruel
&
Kjaer

4011.
The
Bruel
&
Kjaer
4011
is
a
cardioid
microphone
noted
for
its
very

accurate
sound
pick
up.
It
is
currently
sold
under
the
DPA
brand.

Among
the
13
microphone
positions
featured
there
is
vast
scope
to

combine
microphones
in
various
ways
in
both
mono
and
stereo.
Time

spent
experimenting
with
this
will
be
very
well
worthwhile
in
terms
of

developing
a
full
understanding
of
acoustic
guitar
microphone

techniques.



End
of
notes