RECORDING GUITARS

There's a real art to recording a perfect acoustic or electric guitar sound, so here's our expert advice on getting it right...

RECORD IT RIGHT

So much of the music we listen to these days features guitars, whether it’s subtle acoustic finger-picking or in-yer-face heavy rock. From the rounded timbre of early Gibson arch-top jazz guitars to jangly 60s Rickenbackers or the Latin tones of a handmade, nylon-strung acoustic, in the right hands, a guitar is the true chameleon of expression and sound. However, as many of us know from experience, playing the guitar is one thing; capturing and recording an authentic, listenable guitar sound is another story entirely…

WAIT A MINUTE

Before you step towards the mic cabinet, there are a few things to consider first, such as guitar type. Whether you’re recording yourself, a friend or a session player, you probably already have a good idea of the kind of sound you want to capture and therefore what guitar is right for the job. If you’re after that bright, shiny strum sound so beloved of Chris Martin and Tom Petty, your dusty old nylon-strung acoustic from school days just ain’t gonna cut it. Similarly, if you want a fat, jazzy tone, a Fender Tele might not be the best choice.

If you need to hire in a guitar (or a guitarist) for the day, it’s worth the extra spend, if only to save you effecting the hell out of the guitar track at the mixing stage. All guitars sound different and that unique tonality is something you want to capture in the recording.

Electric guitar amps and their speakers bring a further element of character and tonality to the table so your choice of amp is an extremely important factor in the miking process. Have a play with different amps and settings, something that’s easiest to do on modelling amps such as Vox’s Valvetronix+ range or the Fender Mustang modelling combo amp.

[caption id="" align="aligncenter" width="500" caption="Vox VT80+ Valvetronix+ Amp"]](https://www.absolutemusic.co.uk/store/guitar-department-45/guitar-amps-455/vox-vt80-valvetronix-modelling-guitar-amplifier-32604)[/caption]

And what about the room itself? How much of the natural ambience of the environment do you want to be part of the reproduced signal? Do you want to capture some of that natural reverb or do you want a totally dry sound? Or a mix of both? These decisions will influence your mic placement, but before you place it you’ve got to choose it!

GET THE MIC RIGHT

There's a huge array of mics available and all will enable you to record a guitar but, depending on budget and taste, some will do a far better job than others! Essentially there are three types to consider: dynamic, condenser and ribbon…

• Dynamic: These tend to be ruggedly built and more affordable but are usually less sensitive to very low and very high frequencies. They need no external ‘phantom’ power but sometimes require a heap of gain to achieve a useful output level.

• Condenser: Used more for studio recording, condensers are generally more expensive but very sensitive to almost all frequencies, thus giving you a very accurate reproduction. They need power, either by internal battery or external 48V (phantom) power, but require much less gain than a dynamic mic.

Condensers are extremely well suited to capturing the sound of acoustic guitar. Great results can be achieved by using a single large-diaphragm condenser, a stereo pair of small-diaphragm (also know as pencil) condensers, or a combination of both types.

• Ribbon: The theory of ribbon mic construction is similar to that of dynamics (i.e. a part that moves in reaction to an incoming soundwave and converts that kinetic energy into an electrical current), but ribbons can be a lot more expensive.

Their frequency response is ideally suited to reproducing guitars, especially amplified electric ones. Some need phantom power, some don’t, but powered ribbon microphones require far less gain to achieve a higher output. Remember, the lower the level of gain required to amplify your mic’s output, the less unwanted noise will enter into your recordings. The last thing you want is lots of hiss in the background of your track.

Now let’s take a look at some different recording scenarios…

SCENARIO 1: Recording acoustic guitar with two pencil condenser mics

In this first example, we’ll use a stereo pair of cardioid condenser instrument mics or ‘pencil condensers’. Something like the Røde NT5s or the stunning new digital Neumann KM185Ds. When pointed directly at the guitar, these pick up every element of the sound plus all the subtleties that make an acoustic performance unique, such as the squeak of the strings as you change chord position.

[caption id="" align="aligncenter" width="200" caption="Neumann KM185Ds"]](https://www.absolutemusic.co.uk/store/recording-47/microphones-471/condenser-mics-4711/neumann-km185d-solution-d-digital-microphones-stereo-set-nextel-finish-46181)[/caption]

Each mic will need a separate track in the mix, allowing you to blend the signals together later on. At this point, connect the mics to your interface, soundcard or mixer, then switch on the phantom power.

Check your recording levels to make sure the maximum input level is not clipping (overloading). If you’ve got a friend to help you, great! If not, position yourself so you can see the level meters on your recording device (or DAW screen) and adjust the levels accordingly.

As for positioning, the most tried and tested is to mount the mics on the bar and angle them in a 90° V shape then point this at the guitar, one mic towards the soundhole and the other to the neck. Another option is to place one in front of the guitar, towards the soundhole, and the other by the player’s ear, pointing down at the neck. Play around with positions until you find a blended sound that you feel is an accurate reprodcution of what you hear.

Maintaining correct phase correlation is important when using multiple mics or you’ll get a ‘swishy’ chorus-style effect when you listen to both mics together. You must ensure that the signal reaches both mic capsules at the same time (where’s that tape measure?!). Most stereo mic sets come with a mounting bar that will help with accurate positioning.

Sometimes, as a result of the low frequencies and their harmonics overpowering the more delicate upper frequencies, acoustic guitars may sound a bit ‘boomy’. Employing a high-pass filter in the range from 75 to 150Hz can help to remove boominess, bringing clarity and definition to the recorded sound. Filter controls are often included on the mic itself, but you’ll also have controls on your recording device, mixing console or in your DAW.

SCENARIO 2: Recording acoustic with one mic

Although a pair of pencils is ideal, sometimes you just won’t have them to hand, which is where a good quality large-diaphragm condenser like an Audio-Technica AT-4040SM, AKG C414 or the sE4400A comes in. Position it about 20-30cm out from the guitar, not quite directly in line with the soundhole. Large-diaphragm mics capture a wider ‘cone’ of sound than pencil mics so one mic placed further out, between the soundhole and fingerboard, will pick up all the sound plus all the extra nuances too.

[caption id="" align="aligncenter" width="380" caption="sE Electronics sE4400A"]](https://www.absolutemusic.co.uk/store/?searchStr=se4400a&_a=viewCat)[/caption]

Using a single ribbon mic is also an option. Since most ribbon mics’ pickup is figure-of-eight, you need to avoid reflections entering the rear of the mic. Draping a duvet or heavy fabric a foot or so behind the mic can really help to control this.

With acoustic guitar, adding another large-diaphragm condenser further out in the room will help capture some of the room’s natural ambience that can be blended in with the other signals at mix stage.

SCENARIO 3: Recording electric guitar with a single dynamic mic

Because condenser mics are so sensitive to ambient frequencies beyond those produced by an amp and speaker, they’re not the best choice for recording guitar amps. Usually you’ll just want to capture the raw sound coming from your amp, and that’s where a dynamic mic is perfectly at home!

The Shure SM57 is a popular choice for guitar amps simply because, as many engineers will tell you, “it’s what we always use”, but there are other options out there, such as the Sennheiser E606 or the Sontronics HALO, designed specifically for guitar amps.

Most guitar amps are ‘combo’ style, meaning the speaker and amplifier electronics are in the same cabinet. For our purposes, we’re most interested in the speaker as this is where the sound comes from.

As the wooden construction of the amp plays a part in the tonality, the proximity of your mic to the amp will affect the timbre of the recording. In most cases, placing the mic directly in front of the speaker, about one inch from the front will do the trick.

As the speaker is a cone shape, where you place the mic across the face of it is important. Placing the mic at the centre of the cone will give a fuller tone, whereas placing it at the edge will give more definition and bite to the sound.

Another method is to place the mic at the open port at the rear of the amp (if there is one). However, the edge-cone position is the most commonly used method for single-miking an amp or cabinet.

Make sure you consider the amp level, since this is a recording, not an arena performance for the deaf! There is an optimum level (or gain) setting on every guitar amp (considerably lower than 11!) that will provide all the power and tonality you need for the perfect recording. Once you’ve found that optimal setting, carry out those level checks while experimenting with various cone positions.

SCENARIO 4: Recording electric guitar with a ribbon mic and dynamic mic

Many home recordists shy away from using ribbon mics, under the impression that they’re a) too expensive and b) too delicate for use on anything louder than a flute or violin. Well, think again because, as long as the positioning is right, a ribbon mic (plus a companion dynamic) could be the best present you ever give your guitar amp!

Although ribbon mics are more fragile than their dynamic and condenser cousins, they really are great for recording electric guitar amps. It’s just a matter of taking care to watch your amp levels and placing the mic correctly, maybe even using a popshield for extra safety. Both the Audio-Technica AT-4080SM or sE VR2 are well suited to recording guitar amps, while the beefier looking Sontronics Delta has been designed specifically for that purpose.

[caption id="" align="aligncenter" width="360" caption="Sontronics Delta"]](https://www.absolutemusic.co.uk/store/recording-47/microphones-471/ribbon-mics-4713/sontronics-delta-ribbon-microphone-3780)[/caption]

While a ribbon mic alone will capture a great sound, pair it with a dynamic mic and you’ll get a wonderful blend of full-bodied tone with bite. Put the dynamic at the edge of the speaker (as mentioned above) and place the ribbon mic at the centre of the cone (not too close!) and it’ll be perfect.

Generally speaking, both dynamic and ribbon mics cope well with EQ, so don’t be afraid to tweak the signals until you get the sound you need, although this is best left until the post-recording mix process. Good luck!

WE RECOMMEND

• Sontronics HALO - This vintage-inspired mic is one of the only (affordable) dynamic mics out there that has been specifically designed for use on guitar amps!

• Røde NT5s - These compact pencil stle condensers are great for acoustic guitar and cost just over £250 for the two, including carry case, shields and mounts.

• AKG C414 XLS – Invest in a good quality large-diaphragm condenser mic, especially one with multi patterns like the C414 and you'll achieve a great acoustic guitar recording. This costs a chunk under £800.

For more information on any of the products mentioned in this article, click the relevant links, leave a comment or give us a call on 01202 597180.