Stereo recording is easy and fun. It makes recordings sound more immersive and realistic. You can do it too! In this blog, we’ll take a look at the basics of stereo recording, so you can start doing it on your own.
You can locate a sound source because you have two ears. Let’s say someone is talking to you from the left. There’s a difference in level between the left and the right ear. This difference in level helps you to realize that the person next to you is standing to your left.
But there’s a second factor that helps you to locate the source more precisely – the difference in time. The sound coming from the left will hit your left ear first and then the right.
Ways To Mic An Acoustic Guitar
Using the XY stereo technique is easy and safe since there is really nothing you can do wrong. Just don't forget to set both microphone input channels to the exact same gain.
If you have a matched stereo pair, use it. The XY stereo technique is the one that profits most from the matched frequency responses.
The AB position is a time-based stereo technique. Start with a 35 cm distance between the microphones and extend that distance to your liking. AB gives a good room impression, but make sure to experiment to find the right balance between direct sound and diffuse sound field.
Recording The Perfect Acoustic Guitar
That's probably because the setup resembles your head. Both mics are positioned using a distance of about 17 cm and a 110° angle - kinda like where your ears would sit.
Stereo feels like you are surrounded by the sound, a bit like if you would play it yourself and hear it in real life.
You can find all kinds of different stereo techniques being used on acoustic guitar, very often you'll see XY. Here's a picture that shows the XY setup with an additional mono mic.
Recording A Singing Guitarist
The mics are positioned with a distance of about 30 cm and aim to where the neck joins the body of the guitar (12th fret area).
Drums are predestined to demonstrate different stereo techniques. The instrument lives very much on spatiality, and the different parts of the set can be distributed in the mix according to taste. Typically you try to keep the kick and snare in the center because that's where they have the most punch.
Some people like to record their soundstage from the audience’s perspective, others like to record it from the view of the drummer. Pay attention to that the next time you'll listen to your favorite album.
How To Record Classical Guitar
How to record acoustic guitar This article will cover which microphones are suitable for recording acoustic guitars and what else you need to start your musical journey.
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How To Record A Great Acoustic Guitar Sound
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B70A B70AS GN15X GN35X GN35X2 S6 S10 INTERVIEWER LCT 440 PURE LCT 441 FLEX LCT 1040 MTP 250 DM MTP 550 DMJust wondering if you could give me some advice on recording acoustic guitars. I'm finding it very difficult to get a clean and strong stereo sound. I am recording on to a Korg D32XD and I am using Rode M3 and Shure Beta 58 mics. Could you give me some help with mic positioning, and should I also run a direct line in? if I duplicate the tracks and pan one left and the other right and use phase, will this help with achieving a full stereo sound without making the signal too mushy?
As a relatively compact sound source, an acoustic guitar doesn't generate much stereo information, so miking with a single mic and then using pseudo‑stereo processing in the mix may be more effective than miking in stereo.
Jazz News: Science And Art Of Recording Acoustic Guitar
SOS Features Editor Sam Inglis replies: Before you start, it might be worth asking yourself why you particularly want a 'stereo' sound. Plenty of classic records have been made with a single microphone on an acoustic guitar, and just because you have two microphones and two speakers doesn't necessarily mean there will be any benefit to recording in stereo. With two microphones that are so different, many of the classic stereo miking techniques won't work particularly well, as they require two identical mics. The Beta 58 isn't a mic that would typically be used for miking acoustic guitar in any case, so unless you have some particular reason for wanting to record in stereo, I personally would focus on getting a good sound with the M3 alone.
The conventional place to start with acoustic guitars is to point the mic at the place where the neck meets the body, at a distance of perhaps 12 to 24 inches. Move further away and you will get a somewhat bass‑light sound with more room reflections and ambience; move closer and you'll get a less balanced but perhaps pleasing tone.
If you are dead set on using both mics, my initial suggestion would be to use the Beta 58 as a close mic — perhaps a foot or less in front of the neck/body join — and experiment with alternative positions for the M3. It's possible to get good results by pointing it over your shoulder, at the bridge, at the end of the neck looking towards the body of the guitar, or just somewhere in the room to pick up an ambient sound. In most cases, the acoustics of the room will make a huge difference to the resulting sound, and it may be worth experimenting by moving to different rooms in your house, or hanging up duvets or similar to deaden the acoustic.
How To Record Acoustic Guitar At Home
If you duplicate a single track and pan one copy hard left and the other hard right, all you have done is effectively double the volume — it will still be mono. It is possible to create 'thickening' effects by delaying or otherwise processing one of the copies, but you would be better off getting the sound right at source. It's definitely not a good idea to simply flip the phase (polarity) on one side, as the two tracks will cancel when the song is played in mono.
If the guitar has a pickup, by all means record a DI signal to blend with the mic at mixdown, if you like the results.
SOS Editor In Chief Paul White adds: An acoustic guitar is a relatively compact sound source and so doesn't generate much stereo information — the sense of three‑dimensional space is down to the room acoustics rather than the instrument itself. To make the reverb sound seem larger than life, try delaying just one of the stereo reverb or ambience outputs by 50 to 100ms more than the other. Depending on the DAW you use, you may have to set up two identical reverbs on two sends to achieve this. Alternatively, use two very different mono reverbs, and pan these left and right. A short, bright ambience on one side and a longer decaying reverb on the other can work well if there's space in the music to allow for more than a hint of reverb.
How To Pan Acoustic Guitar Mics
However, you can force the instrument itself to be 'stereo' by resorting to trickery. One approach is to use two microphones aimed at radically different parts of the instrument and then pan these left and right. A popular choice is to mic the body in the usual way (mic aimed at the neck/body joint or the bridge) but then add a second mic halfway up the neck. The two sounds will be very different but work well in stereo as long as the player doesn't move too much during performance. A variation on this is to use the DI output, where a pickup is fitted, but also mic the instrument and, again, pan these signals left and right. In all cases it is advisable to check that the sound works in mono, as phase differences can cause some pretty radical tonal changes. For this reason, like Sam I wouldn't recommend using phase alone to create stereo effects, but there are phase‑related processes that are mono compatible.
The usual technique to maintain
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