How to mic a classical guitar
A few days ago, during the recording sessions of a well-known local guitarist, we ran into a dilemma that you home studio users have surely faced as well: micing a classical guitar!
Taking inspiration from this experience, we would like to share a small ‘guide’ with you that will allow you to best optimize the sound of your classical guitar.
First of all, you need to fully understand the sonic intention you want to give your guitar; it is well known that a good micing technique is fifty percent of the work that will be developed in post-production.
Let’s always start from the assumption that the classical guitar is a not very dynamic instrument, so the capture type must be as faithful as possible to the real sound of the instrument. It is precisely for this reason that I recommend using large-diaphragm condenser microphones. I don’t feel like giving you advice on specific microphones since you are truly spoiled for choice, but I will cover this topic later by telling you about the specific case of our experience.
Let’s now move on to the practical act and practically analyze micing techniques, including as a ‘plus’ a technique for micing them live too:
ORTF Technique: is undoubtedly my favorite as it is capable of capturing all those characteristic ‘noises’ of a classical instrument. It is used mostly in Italian light music, but also in pop and folk: it consists of positioning two directional microphones about 25 centimeters from the instrument, one on the guitar top immediately below the bridge and one on the neck at the halfway point of the fretboard. By playing around with the mic on the fretboard, you can get colors on that ‘crunchy’ finger sound that will color it significantly.
MS Technique: Undoubtedly the most used technique, it allows you to have a very wide stereo image and a very vibrant sound. It consists of positioning both microphones pointed at the sound hole of the guitar. We will use a directional microphone about 20 centimeters from the wood and a figure-eight immediately behind the directional one. Obviously, the aiming remains relative to sonic taste; by moving the microphones away or closer even by just a few centimeters you will notice significant changes in sound, so the advice is to have as much fun as possible until you find the right solution.
STEREO Technique: It is a widely used technique but not my favorite, as it has overly ‘standard’ connotations. If you need immediacy, I strongly advise you to use it. It consists of positioning the two microphones in a cardioid pattern at a distance of about forty centimeters from the top of the guitar, and then inclined towards each other at ninety degrees. Always make sure, through testing, that you do not have stereo image issues to resolve, by narrowing the angle of the two microphones.
LIVE Technique: There are many techniques for micing a guitar live, but based on my modest experience I recommend the configuration of a directional mic on the top and two stereo overheads.
As a top mic you can use a very normal Shure SM58, or an SM57, and as stereo overheads (to be positioned at least a meter and a half off the ground) two AKG 414s or 451s can do their job worthily.
Pav attention, in general but especially when using this technique, to phase issues that the microphones might trigger, which can be resolved by moving the microphones themselves further away or closer, or even more simply in post-production.
Before saying goodbye, a few more basic tips for optimal recording
of your acoustic guitar:
– Always check the input levels of your instrument, avoiding excessive clips or saturation;
– Always use shock mounts to suspend microphones, or at least prefer them to normal ‘goosenecks’;
– Do not invade the musician’s territory too much, mic also based on their comfort needs!
With that, over and out, I hope this little guide can be useful to you!
Written by Salvatore Buzzerio
