I don’t believe in “rules” with regards to recording music, I am a big believer in experimentation. But that being mentioned, it’s good to learn the fundamentals of how many individuals do anything as it can provide you a beginning point. In some instances (including with recording an acoustic guitar) possibly there are you happy with all the “conventional wisdom” and you won’t waste a bunch of time striving to figure out how to receive a superior sound on your.
How I Record Acoustic Guitars In My Home Studio
My signal path is a condenser microphone (KSM44) into a tube preamp (MPA Gold with NOS tubes) into an sound interface (E-MU 1616M) into my DAW (Reaper.) I try to ensure that all my cabling are of the reasonably good quality (bad standard cabling may degrade your sound.) That’s the basic signal path that I employ and it’s possibly synonymous to what you should employ.
Of course the signal path is just piece of the equation. A important aspect of recording any acoustic instrument (including voice) is mic location. I firmly urge you to experiment with different placements of the microphone in relationship to your guitar because this may have a big impact on the standard of the sound.
The general direction of thumb is the fact that in the event you don’t have an acoustically treated area that has a advantageous sound then you possibly don’t need much of the “space sound” in your recording. To do away with the “area sound” persons employ “close micing” which basically signifies the mic is located close to the source (in this case an acoustic guitar) but by placing the microphone close you are able to loose a few of the all-natural sound of the guitar and you are able to exaggerate the transient sounds. Experiment with your condition to find what functions right for you.
Compression is usually utilized on acoustic guitar.
Compression is certainly a entire topic of it’s own. I never suggest utilizing compression when you’re monitoring because it’s greater to provide yourself the flexibility to be capable to change it later.
It’s right to conserve any EQ changes until you may be at the mixing stage. You must think of EQ as a method of carving out a “space” for each instrument in your blend. It doesn’t certainly create much sense to EQ an instrument on it’s own because that’s not the way you is hearing it in the final recording (unless naturally you’re recording a solo acoustic guitar part.
Some persons record acoustic guitars with stereo microphones, I don’t. This approach might function right for tunes where the acoustic guitar is truly the only instrument (additional than vocals) but even then I don’t think it’s essential. Naturally, this might be a matter of taste.