– allows you to pick any one place, close to or, by using a gooseneck, at a short distance from the instrument. The clip works together with a number of our goosenecks allowing you to not only place the microphones according to your taste but also taking the application and the surrounding noise into consideration. Commonly used methods include using a high-quality microphone with a studio monitor; an acoustic guitar amplifier using a pickup in the guitar, often blended with a microphone; or sending the guitar’s signal through a mixing console to the house main speakers, sometimes in combination with one of the other two approaches. Dynamic mics don’t need to be powered, and are rugged, cheap, and reliable. This will minimize the bleed from the drum sound reflection off the guitar. Some recording engineers will record a feed directly off an acoustic pickup and blend it in with the miked sound. Twisting the gooseneck horizontally toward the hole can do this. However, most of these mics lack top-end definition and a flat enough response to be the first choice for our application. This can be done with a clip-on style condenser mic designed for drums or horns – but be sure to cut low frequencies, as the vibrations through the clip can cause some deep rumble. A decent classical guitar recording has to have sensitivity to capture the detailed softer notes, while simultaneously capturing the fullness of the dynamic expression without peaking. While this placement provides plenty of volume, it rarely offers great tone. As your objective is to give the guitar a little boost over the orchestra, this should do the trick without overdoing it. 2. Dynamicsare the most common—the Shure SM58 and SM57 are perhaps the most widely used backline microphones in venues around the world. Most engineers will choose a bright-sounding condenser mic for these applications. This may seem like the most intuitive place to put a mic for an acoustic guitar, but the sound hole is like a fire hose for sound waves. The choice of pickup pattern will depend on the acoustics of the room and if there are any other instruments or sounds in the room that you are trying to avoid. Using an omnidirectional microphone is appropriate when you want to pick up the full sound of the instrument and you can maneuver it (using a gooseneck) a short distance away from the instrument. These techniques are explained in the Stereo Miking Techniques section below. Bear in mind that the acoustic guitar reacts as a reflective surface. I had looked around a bit in the Recording Classical Guitar forum, and found some good tips, but just wasn't sure if they would all apply being that the levels of live performances and recording can vary so greatly. Pointed at the 12th fret with distance of 3–5″. 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. Fill in your registered email, and we will send you a link to reset your password. Stereo techniques such as X-Y and ORTF can be very effective as well. The goosenecks are extremely flexible and can be slightly bent in order to position the microphone as needed. If you prefer more volume, positioning the mic closer to or pointing at the sound hole is ideal. Pointed at the 12th fret with distance of 3–5″. Omnidirectional (pressure) microphones have the great advantage of picking up sound evenly from all directions (although some “omnidirectional” microphones are slightly directional at the highest frequencies). Below are a few popular placements (see Fig. Many novice recordists fall into the pitfall of recording an acoustic guitar by placing the mic directly in front of the soundhole. This article is written specifical… So many people think different things about amplifying a classical guitar, acoustic guitar or flamenco guitar.The purists don’t want to talk about pickups, transducers or preamps.They just want to preserve the natural sound of the guitar (We all want too) without interfering in the sonic combination of the soundboard and the body of the guitar. Because the strings are nylon, they are able to resonate much quieter than the steel or brass ones used on an acoustic guitar. Proximity effect is an increase in bass or low-frequency response when a sound source is close to a microphone.