Home Recording: Any Advice?

Lennart_FR · November 2016

Hello fellow Djangophiles,

I have decided to make a little recording in my modest home studio (a.k.a my desk).

My setup:

Windows 7 PC
Reaper v5.29/64x
M-Audio Fast Track Pro Interface

Mics:
* Audio-Technica AT 831b
* Shure SM57

Guitar:
* Gitane DG-500

I have no real experience with the technical aspects of recording so I was wondering if anybody had some advice relating to a a good positioning of the microphones. When I play live, I use the AT clamped to the sound hole, with the mic pointing into the guitar towards the ground in order to minimize feedback. This setup resulted in a quite dull sound when I recorded it, however. I got the best sound, so far, when clamping the mic to the sound hole on the outside with the mic point towards the bridge (see attached file). The main problem with this is that the signal is relatively weak.

So my questions are:

* What's the best position for the AT? Could I offset the weak signal using some effect (something similar to normalization in audacity)?
* What's a good position for the Shure ? (I haven't used it so far.)
* Do you have any other suggestions, do's, don'ts etc.?
* Should I balance rhythm and solo guitar left/right?
* Should I use reverb?

For the bass a friend recommended simply using a clean guitar signal with an octaver effect. Good idea? Bad idea? Any advice?

EDIT: To clarify: I want to record rhythm guitar, solo guitar as well a bass. Alternatively, I could borrow a Fender Jazz Bass from a friend.

Thanks!

Cheers,
Lennart

crookedpinky · November 2016

Hi there. Can I ask how are you connecting the AT mic ? I would give the Shure a try and I would suggest placing it about 12 inches away from the guitar pointing roughly at 12th fret. I wouldn't recommend boosting a weak signal with using an effect as you run the risk of boosting any background noise as well, you need to get a decent level into Reaper in the first place. As for reverb that's really up to you. I use Reaper but have a small mixing desk which lets me add reverb to the signal I monitor but not to the signal being recorded. I would recommend using a real bass as octave boxes never sound quite right to my ears. And as for left right balance again that's up to you but why not just go with a mono mix, after all you only have three sound sources and, don't forget, all of Djangos recording would have been in mono.

bluetrain · December 2016

Maybe you could try your AT mic so that you attach it to something similar to mic stand and put it in front of your guitar. Then you would get more natural sound. Then you can make adjustements for the distance and the point where it points. Usually many guys put the mic in front of the 14th fret and point it towards the 14th fret or towards the soundhole which gives more bass. As far as mixing goes you have to listen to your favourite records and try to imitate the stereo field they have.

Jazzaferri · December 2016

My experience with SM57's leads me to say that it would not be my mic of choice for acoustic guitar. Too much colour. The goal in acoustic and much of amplified recording is to get as pure and clear a signal as possible with no eq or effects Effects and eq are best added after, then you can change them as needed. Once you record with an effect its fixed in there.

guitarshark · December 2016

Zoom h2.

Simple. Great quality.

Or!!

Tascam portastudio mini....cassette tape ftw.

Daria91 · August 2020

If you're not happy with the microphones you choose, here are a few good options too:

Best microphones for acoustic guitar

pdg · August 2020

As far as condensor mics, I've heard that small-diaphragm is better for transients -- e.g., the attack and "crunch" of GJ guitars? -- and large-diaphragm is better at capturing lower frequencies (not much of an issue here?).

Is this true? Does anyone have any empirical experience related to this? Or is the particular mic more important than the diaphragm size?

ChristopheCarington · August 2020

Okay, crash course 101 incoming *cracks knuckles*

+++

I'd likely use the AT mic. Mostly because it's a condenser and more suited to capture subtleties. You can make the 57 sound great, it's just more work.

Aim it where neck meets the body (12-14th fret), about 6 inches away from the guitar. Point it straight to start. Less bass? Point it more toward the head stock. More bass? Point it more toward the sound hole. Use a boom mic stand. Don't attached the mic to the guitar if you can help it - you're going to get a huge booming bass frequency that sucks to deal with (it's what makes that mic feedback so badly live).

If you don't have any sound proofing, play the guitar facing a clothing closet or something else that will absorb frequencies rather than reflect them. Even throwing a wadded up towel or blanket in front of your guitar and behind you will help reduce reflections.

For E.Q., guitar is similar to vocals so basic principles apply. Always take away, don't add. I'd run a high shelf around 50-150hz. Low shelf around 10-12khz. You may need some small dips (somewhat narrow, and no more than -6db) around a few normal trouble areas (give or take ~100hz): 300hz, 500hz, and 800hz. These are your guitar's lows, low-mids, and high-mids. You may not need to dip any based on the tone you're looking for, or your equipment - but when you start mixing you'll likely want to suck these out... especially for the rhythm guitar.

Keep in mind, about every hour you spend getting your sound right before and during the recording will save you 2 hours in post fixing issues. Also keep in mind, just because your instrument sounds good by itself doesn't mean it'll sound good in a mix. But you'll learn what works over time.

Finally, if you're mixing, there tends to be three different approaches I hear in Gypsy Jazz: mono, soloist centered, and bass centered.

Mono is the hardest to mix, because you need to understand frequencies really well, and how all your instruments interact. It also requires you to be much more disciplined in recording. However, if you can get your mix sounding great in mono, it will sound awesome on almost any sound system and in stereo.
Soloist centered is usually used when only one instrument is playing the melody and solo. You then pan the other instruments to the left and right. Think Seresta by the Rosenberg Trio.
If you have multiple soloists, then you'll likely want to put the bass smack dab in the middle, and pan soloists (except lead vocals... always keep those center). Single rhythm guitar: leave it low in the mix, but also smack dab in the center with the soloists panned left and right. Two rhythm guitars (or double-tracked): do a semi-hard pan left and right and soft pan soloists. Think La Familia by the Rosenberg Trio.

+++

Thank you for coming to my TED talk.

t-bird · August 2020

Over the past few months I've been recording quite a bit (and reading about recording) and I think you're missing a key element here - the room is really important. IMHO, the hierarchy for a good recording goes- Performance>Room>Instrument>Microphone>Preamp>Production.

Spend a little time on the Gearslutz site and you'll be able to find some good advice for your particular space. Have fun.