Simple and quick to set up. Great for recording guitar parts to thicken up an arrangement. Recording in stereo: Great for adding extra depth and width to your already great sounding mono recordings. Start to build up a fuller picture of the instrument.
Important in sparse arrangements where the acoustic guitar is a key feature of the song. Microphone Placement 4. Body Recording the body of the guitar is going to yield a more mid and bass heavy tone than the previous technique. Recording via DI 5. Recording Via D. I Recording using the D. Convolution reverb is your friend. Conclusion Conclusion When recording the acoustic guitar try and think about the context of the instrument in the song. EVO 4. EVO 8. Perhaps you will want to use the mic for recording some vocals , or to lend it to family members that also have music interests.
This is probably the most important segment of this article! Polar patterns are definitely one of the most vital topics here. They decide how, from where and when the music you play is received and from which side the background noise should be muted. There are several types of polar patterns to choose from when purchasing a microphone and will discuss a few of the more popular ones that are useful for using with a guitar amp!
What are polar patterns, anyway? Polar patterns are patterns that cover the head of the microphone and determine from which direction the sound is soaked in from and from which side it is rejected.
It has the most sensitivity at the front of the head and rejects sound that comes from the back. If you usually have problems with ambient sound or background noises, this is the most effective type of microphone to silence those sounds out. Regardless, if you are looking for a mic that will single out the sound source and reject any unwanted noises, a cardioid-patterned microphone is the best pick. However, they have a bit of pickup right at the back of the microphone too.
Placing speakers correctly is vital when using this microphone. Super cardioid mics are perfect for singling out sound sources in rowdy environments like on stages or during studio practice sessions. If you need a mic that is the most resistant to feedback, the super cardioid pattern should be your number 1 choice.
Simply put, this mic has no rejection mechanism like the cardioid and super cardioid patterns do. For example, you can have a cardioid and omnidirectional capsule and you can switch them depending on what kind of environment you are working in. If you are looking for versatility, definitely grab a mic where you can interchange capsules! For guitar amps, the recommended frequency response is similar to that of a vocalist, and you should look for mics that have frequency responses between 80Hz- 5kHz.
Each microphone usually has a set of instruments that it is tailored towards, for example some mics made specifically for vocalists and some for drummers. Usually however, a vocalist and a drummer cannot use the same microphone if they want to get the most out of their recordings. Drummers however should get mics that can record sounds that go as deep as 30HzHz to accompany the deep, low sounds of the bass kick drum.
When looking at product descriptions of mics, you will often find small, confusing looking graphs. These are graphs that map the response curves. What are response curves? They are lines that let you know visually about the frequency range of the particular mic you are intending on buying.
These graphs let you know how a specific microphone performs at different frequencies and where it dips and rises. Many musicians find these types of graphs helpful because they can give you quick visual information of how a mic performs, what it specializes in and what are its distinct features when it comes to frequency. This means that the closer you get to your mic or the closer you place your mic to your amp or instrument, the deeper the bass response will be.
This gives the recorded and live sound a warmer tone and is great to experiment with if you have some time and are looking for a vintage feel. If you are up for a challenge, you can play around with how close you can put your mic to your lips before it starts to give off the deep, warm bass sound! The sensitivity of the mic usually depends on the quiet sounds the mic can pick up. You can often find these levels under any microphone description since many musicians find this to be vital information.
To put it simply, the lower the decibel number, the bigger the sensitivity of the mic. The average sensitivity is around dB and a high one goes anywhere beyond dB. Usually the best way to judge a microphone is by the street price. The more expensive the product, the better materials it will be made from and the more options and features it will have. There is a significant different between cheap and expensive microphones and that usually stems from the different metals they are made out of.
Usually aluminum mics are the average standard that you should be looking for when purchasing a new microphone! Not only are there different polar patterns, but there are different microphone types, too! Usually, you will be looking at three types of microphones: condenser, ribbon and dynamic.
Each of these three categories has their own specific features and they are usually used for very different purposes, too. Thanks to this mic being so easy to hold and carry around and thanks to the rejection of off-axis sounds, it makes this little device the perfect companion for stage live performance.
These can of course also be used for studio recordings, but are mainly purchased to help musicians perform well during live sound shows. Many people like dynamic mics for recording electric guitar, recording acoustic guitars and acoustic drums. Condenser mics are usually way more responsive to the subtle details and the nuances of sounds than dynamics mics are. They are usually found within studios and have a much bigger frequency response than the other mics on this list.
They have a rather loud out put but are very sensitive to high-frequency sounds and require you to use a power supply. They are also generally more expensive than dynamic mics.
If you are looking for a clear and well-defined recording and performance, the condenser mic should be the go to product for you! Ribbon mics are the most delicate type of microphone out of all of these three options.
They are known to soften the sound of the recordings and performances to enhance them with a warm, rich tone. Chris Corfield is a journalist with over 12 years of experience writing for some of the music world's biggest brands including Orange Amplification, MusicRadar, Guitar World Total Guitar and Dawsons Music. Chris loves getting nerdy about everything from guitar gear and synths, to microphones and music production hardware. Guitar World.
Included in this guide: 1. Shure SM57 Dynamic Microphone. Type: Dynamic. Connectivity: XLR. Pickup pattern: Cardioid. Frequency response: 40Hz to 15kHz. Accessories: Microphone stand mount, carry case. Reasons to avoid - None at this price. Aston Spirit Condenser Microphone.
The best microphone for recording guitar if you want versatility. Type: Condenser. Pickup pattern: Cardioid, Omni, Figure 8. Frequency response: 20Hz to 20kHz. Accessories: Case. Reasons to avoid - None! Neumann TLM Microphone. The difference here is that Shure's SM81 is, first and foremost, aimed at acoustic guitarists, albeit with a friendly, open invitation for pianists, drummers and string players too. Despite its slim, attractive body the SM81, in common with all of the SM family, is a rugged beast.
It's built from tough vinyl-coated steel and Shure claim it's 'field-usable' over a wide range of temperature and humidity conditions. As an acoustic guitarist, that's unlikely to be your primary motivation for buying it, but nevertheless it's nice to know that your fingers will probably stop working before it does.
Of more interest is its frequency response curve that's incredibly flat. Self-noise is very low, output is high and it exhibits minimum colouration, even off axis. Reproduction is faithful and its uniform, transparent character makes multi-mic setups a breeze. There's a 10dB pad too, but that's probably more useful for your drummer friends unless you're an aggressive strummer wielding a powerful dread.
This is where it all started for British success story Aston. The aptly named Origin was their first mic and it went on to become a global best seller. It's also the microphone Aston markets as an all-rounder — wonderful for vocals but equally comfortable sitting in front of a guitar cab, drums or an acoustic guitar.
It's a large diaphragm condenser so we recommend pairing it with a small diaphragm end-address condenser or even a Shure SM57 that can be easily and precisely aimed at the 12th fret. The Origin can then sit back a few feet, pointing in the general direction of the bridge, left to capture some delicious airiness and warmth. Not too much warmth, mind.
This is a transistor-based FET condenser mic, so it paints a more genuine sonic portrait than its tube-based relatives, which have a tendency to warm up everything they 'hear'. Perfect for vocals, but not necessarily desirable for acoustic guitar. The Origin has a beautifully flat response curve with a gently sloping but pronounced presence lift from about 2KHz. These characteristics give that aforementioned transparency, plus plenty of clarity, all packaged up with an enviable smoothness that many pricier mics struggle to deliver.
Which brings us neatly on to the cost. It's pretty good value for a solidly built, large diaphragm condenser isn't it?
Read our full Aston Microphones Origin review. If you primarily play live, you've probably considered installing some kind of pickup or microphone in your acoustic. It may even have a factory-fitted piezoelectric system that you find a bit too harsh and bright.
Beyond the fact that your live audiences will be able to hear your playing, the added advantage of installing a microphone system in your guitar is that it makes recording easier than falling off an icy log covered in banana skins.
The LR Baggs Lyric is a neat, inexpensive solution that comprises a pressure zone microphone, a preamp and a small control unit for adjusting presence and volume.
Provided you're courageous enough to get past step one — 'Drill a clean half inch hole in the tail-block for the strapjack' — the installation is surprisingly easy. Both the mic and the control unit are fixed to the inside of your guitar with sticky pads, leaving you with an invisible install.
Only the presence and volume controls peep out slightly from beneath the top of the soundhole. The presence control is, in theory, a one-time only fix. Once adjusted to sound most natural, with the supplied plastic pen-like tool, it should be good forever, but if you have second thoughts there's nothing to stop you re-adjusting it from time to time. The only other control is the knurled volume knob.
The microphone is placed just under the bridge, essentially using the soundboard as a diaphragm. The clever thing about a pressure zone microphone which is a kind of condenser is that it eliminates reflected sound waves, making it perfect for placing in a wooden box full of reflections.
We were worried the sound would be lifeless, indistinct and boxy but we were pleasantly surprised to find it highly detailed, crisp, full and feedback free.
Because there's a decent preamp onboard, recording is simply a matter of plugging your acoustic directly into an interface. Does it sound as good as a guitar skilfully miked with a couple of Neumann KMs? Of course not, but not all of us have the time, budget or patience to faff about placing boutique mics. If this sounds like you, the Lyric will prove to be a worthy, versatile solution that won't melt your credit card. Read our full LR Baggs Lyric review. Piezo undersaddle pickups have a lot going for them.
They're unobtrusive, feedback resistant, very responsive and provide good articulation and clarity, which is especially important for fingerpickers.
Unfortunately, they also tend to sound bright, artificial, generic and even a little harsh. Essentially, this is because a piezo only picks up the sound of the strings and not the air moving in and around the soundbox. Piezos may not provide anything like a true representation of how a particular guitar sounds but many guitarists are reluctant to give them up because their advantages — feedback resistance in particular — outweigh their sonic shortfalls.
One alternative is to fit a condenser mic within the soundbox, a solution that can work well at low volumes but your guitar will howl like a banshee with a stubbed toe once you start to turn the dial up with any purpose.
The obvious solution is to fit both. A piezo undersaddle pickup for clarity and feedback resistance together with a condenser for warm natural guitar tones. The primary strength of this system is the sheer amount of control you have in shaping your final sound.
There's a pre-amp voicing switch that, flicked one way, will give soloists and singers who accompany themselves a bass boost. Flick it the opposite way for a flatter response that will better cut through a busy mix. Tone, blend and volume controls are all accessible from the soundhole.
Twist the Tone control all the way to the right to scoop the piezo's midrange, for an open, airy yet punchy tone or back it off for just a bit of midrange cut.
Dial in more clarity from the piezo or bring in more warmth from the mic. Or, if you prefer the sound of the mic dial in as much as you can before your guitar starts to feedback. The mic can also be positioned semi-permanently towards the neck end of the soundhole for a warmer tone, or further around hole for more brightness.
In addition, it's mounted on a swivel mount that makes it possible to angle it towards the back of the guitar for a cleaner sound or towards the soundhole for more bass response. Installation isn't quite on a par with brain surgery but if you're not that handy with a drill you may want to trust it to your favourite guitar store or luthier. The kit does add a fair bit of wiring and a little bit of weight, about g, to your guitar but it will breathe new life into your live performances and recordings.
The first step to getting a great acoustic guitar recording is to grab yourself a great guitar.
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