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Location: 6 String Ranch | SO it looks like AKG 414 is first choice, AT3031 is second and NT3 is third. I get that right? |
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| I have an MXL 990 like Damon, but I find it's better suited to vocals. For the guitar I use a matched pair of Behringer C2's. |
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Location: Latitude 39.56819, Longitude -105.080066 | Beal, the only problem with the AKG 414s is that most agree the new ones aren't nearly as good as the older versions.
I'm betting all of Temps are old and the desirable versions. The problem if I understand it correctly is that it is really hard to tell the difference just by looking at them.
Maybe I am full of it and Temp will set me straight but I have heard this repeatedly over the last 4-5 years. |
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Posts: 5750
Location: Scotland | The 414 is a great studio mike but it's overkill for acoustic guitar in a live situation. I have several versions, including a couple of early ones and some brand new. The older ones sound different to the new ones, but different doesn't mean better or worse, just different. "They don't make 'em like they used to" gets heard about everything, and the inference that older means better is not neccesarily the case.
Bill, either the AT3031 or Rode NT3 will be fine, my choice would be the NT3, but check your email first. |
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Location: Latitude 39.56819, Longitude -105.080066 | Thanks for clearing that up Paul.
I have never owned any 414s so that's why I deferred my comments to you.
I know I am way out of the majority but I still like a ribbon mic for recording acoustics. Gives such a nice warm vibe. |
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Posts: 10581
Location: NJ | ribbon mics make EVERYTHING sound better
I prefer neumamn condensors.
I have an akg 414 notice that there are several versions of this one now. |
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Posts: 5750
Location: Scotland | Yep, if you can afford them Ribbons are the way to go for some studio applications, especially acoustic instruments and vocals. Wouldn't use a ribbon mike live though and the vintage ones are way too fragile for anything loud.
There are some cheap ribbon mikes around now of Chinese origin and the ones I've heard were pretty nasty. |
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Location: Marlton, NJ | How would you mike a guitar with double epaulets(no center sound hole)? |
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Location: Round Rock, TX | I recently bought some ribbons from a company called Cascade. I got the Fathead II's. Made in the U.S., you get two matched mics, shockmounts and a Blumlein bar for under 4 bills. I'll let you know how they sound soon.
As for mic'ing double epaulets, I use two Rode NT5's with a double mic stand adapter and point each of the mics at one of the epaulets. Sounds pretty dang bueno. Haven't done that live, though, since all my guitars that have d.e.'s also have a preamp. ;) |
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Posts: 5750
Location: Scotland | Originally posted by CrimsonLake:
How would you mike a guitar with double epaulets(no center sound hole)? Doesn't matter where the soundholes are, the trick is to keep the mikes away from the soundholes or all you'll get is a big nasty woofy bass. That said, this is less of a problem with multi-hole guitars than with centre holes
Soundholes are just a port to tune the fundamental frequency of the soundbox, so if you mic the hole, that's what you'll hear. And, the proximity effect of a cardioid pattern mic will just exagerate that further.
The biggest mistake in recording acoustic guitar is placing the mics too close to the instument. Have somebody play a guitar with the soundhole of a guitar a couple of inches from your ear. Do you like that sound? Didn't think so. Get some good mic preamps and get a bit of distance into the sound.
On stage it's a different ball game, you need to get in close for volume and isolation. I try to place the mike between the bridge and soundhole angled towards the end of the fingerboard, or at the neck joint angled towards the end of the fingerboard to avoid bass woof from the hole. And if the mic has bass roll-off switches I use them, if not I hit the HPF on the channel strip. |
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Posts: 4996
Location: Phoenix AZ | I've had "good" results using a pair of mics, one about 2 feet from the guitar at my eye level pointed slightloy downward. The other around 1 foot from the guitar pointed at the fretboard around the 14th fret.
Temp is the best source of sound advice. Us that as a start and be prepared for a lot of trial and error.
Toby |
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Posts: 5750
Location: Scotland | Exactly. That's what I mean by getting some distance in there. Let the tone of the thing breathe a little. The real sound of a guitar develops several feet away from it, so placing microphones within inches of the soundboard is not giving a true picture. |
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Posts: 5750
Location: Scotland | Originally posted by wilblee:
Made in the U.S., you get two matched mics, shockmounts and a Blumlein bar I'm intrigued by this. The Blumlein array goes back to the 1930's and is a very elegant and sophisticated stereo technique that uses a crossed pair of bi-directional microphones. Other than live orchestral or acoustic ensemble recording recording it has little use in modern studio techniques. I wonder why they've chosen to include that. It's such an esoteric technique I'd be surprised if anyone but experienced (by that I mean OLD) pro recording engineers were even aware of it. |
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Posts: 5750
Location: Scotland | Originally posted by Gallerinski:
Temp is the best source of sound advice.
Toby To clarify, thats "Advice about sound" My advice on ANY other subject is far from sound. |
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Posts: 13303
Location: Latitude 39.56819, Longitude -105.080066 | AEA makes some pretty nice and affordable ribbons.
I have a R84 and am very pleased with the sound.
I also have a Peluso Ribbon but I haven't found the time to play around with it enough to know if I like it a lot or not.
For stereo condensers, I use a matched set of Oktavas with the interchangeable head capsules. |
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Posts: 2491
Location: Copenhagen Denmark | When it comes to RIBBONS , make sure it has :
A ) transformer
or..
B ) An amp. circuit ( preferable incorporating a valve ) to adapt to higher impedance.
A ribbon mic. has a low output of some milli -volts. and low impedance 0,02 ohm , inductance/ nano henry..
Therefore needs correction..
..I do n`t even know what I`m doin` here , perhaps IFFY can ( I`m SURE ) explain it better..
Vic
..bunch of amateurs...!! :mad:
On second note , where is Mr. Ovation ?? , He would know..( allthough ALPEP did point the way !! ) |
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December 2001
Posts: 10581
Location: NJ | Originally posted by Paul Templeman:
Originally posted by wilblee:
Made in the U.S., you get two matched mics, shockmounts and a Blumlein bar I'm intrigued by this. The Blumlein array goes back to the 1930's and is a very elegant and sophisticated stereo technique that uses a crossed pair of bi-directional microphones. Other than live orchestral or acoustic ensemble recording recording it has little use in modern studio techniques. I wonder why they've chosen to include that. It's such an esoteric technique I'd be surprised if anyone but experienced (by that I mean OLD) pro recording engineers were even aware of it.
studio no but live it works fine |
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February 2002
Posts: 5750
Location: Scotland | See, it's just us old guys who know this stuff. The Blumlein array was one of the techniques, along with Mid/Side that was part of the sound engineering & music production degree program I taught a few years ago. It's a really cool way to make live recordings. |
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October 2005
Posts: 4026
Location: Utah | This site has some good info on recording acoustic guitars and using different techniques, including Blumlein Array and mid-side. Click on the home page link to get their detailed discussions on different mics. |
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OT; mic for acoustic
