How to Mic Six-Strings Like a Pro

Three stereo miking secrets guaranteed to make your acoustic guitar tracks shine
Ask five engineers how they approach recording acoustic guitar, and you may very well get five
different answers, if you get any at all, that is. While many factors influence an engineer's
choice of recording techniques -- the character of the instrument, the style of music, the
player's personal tonal and dynamic signature, and the recording environment -- some
engineers prefer to keep their approaches a trade secret. But despite all the possible
permutations of instrument, style, player, room, and ego, for most seasoned engineers the real
secret to recording an acoustic guitar is stereo miking -- plain and simple.
Sure, if it's just "spaciousness" you're after, you could record an acoustic guitar in mono and
fold in some enthusiastic stereo processing. Or if you're hankering for a dramatically textured
sound, you could try combining a microphone with an acoustic guitar pickup. If depth and
accuracy are what matter most, however, you'll find that stereo recording with two
microphones is an exceptionally reliable way to record full-bodied, realistic-sounding acoustic
guitar tracks.
Let's take a look at three of the most popular techniques, and also examine the questions of
microphone choice and mono-compatibility. As you'll find, stereo recording can be a complex
art, since the interaction between the two mics will determine many aspects of the sound --
including tone, image, and mono-compatibility. But like any art, you'll also find that practice
makes perfect. So whip out those mics, pull out that guitar, and give these tips a try: You'll hear
the difference.

Three Surefire Techniques

In most cases, you'll want to use a pair of cardioid (unidirectional) mics placed close to the
instrument. Close-miking -- approximately six to 12 inches from the guitar -- is used in most
pop and other contemporary recordings that feature acoustic guitar.
Cardioid mics are generally best used for close-miking guitar because they exhibit less bass
proximity effect (or bass boost) than other directional types when placed close to the sound
source. And we all know that acoustic guitars can sound boomy if miked incorrectly.
Let's explore three common approaches to stereo miking and acoustic guitar. Each of these
techniques has been used on countless hit records. Be sure to check out the corresponding
audio links, and of course, consider these as starting points for your own creativity. After you've
mastered each one, feel free to experiment with your own variations on each method.
Spaced Pair, Version A

Two mics are placed apart from each other at the same approximate height, one pointing at the
12th fret of the guitar and the other at the bridge.
With this approach -- as with any miking technique that uses two or more mics that are spaced
apart from one another -- always be sure to follow the "3-to-1 rule." According to this rule, the
distance between two mics should be at least three times the distance between each mic and
the sound source. This keeps phase cancellations to a minimum, resulting in a smoother sound
that also translates well to mono. So, for instance, if you've got each mic seven inches from the
guitar, the 3-to-1 rule mandates that you spread the two mics at least 21 inches apart from
each other. (One of a few exceptions to the 3-to-1 rule is with the X-Y technique, as described
below.)
Spaced Pair, Version B

Our second technique is a variation on the spaced pair. As in the setup above, one mic points
to the 12th fret. The second mic, however, is hung from a mic stand at the performer's ear
level, pointing down at either the bridge or at the strings just behind the soundhole. For
example, if the performer is right-handed, this second mic would be placed over her right
shoulder. (Once again, be sure to follow the 3-to-1 rule.)
You can also move this ear-level mic slightly out in front of the performer and angle it back
towards the guitar (versus pointing straight down at the floor), for a brighter sound. This
technique usually yields a more open -- but thinner -- sound than the simple spaced pair on a
horizontal plane. Check out the links to hear the difference.
If you're not getting the sound you want with a spaced pair placement, try moving one or both
microphones slightly to improve the timbre. Because spaced pair placement is subject to phase
interference, moving one mic only an inch or two can dramatically change the sound. To learn
more about how phase affects the timbre of stereo guitar tracks, go to the mono-compatibility
link below.
The X-Y Technique

X-Y, or coincident-pair, is the no-brainer approach to stereo miking. If you follow these steps
precisely, and are willing to move the mics around a bit to find the sweet spot, you'll find it's
hard to make a bad recording. (That's assuming, of course, that your room, your mics, and the
instrument -- and, while we're making a checklist, the guitarist -- are half-way decent.)
Place the two mics close together so that their capsules are almost touching. The rear ends of
each mic are spread apart at an angle of a roughly 90 to 120 degrees. The result looks like a
wide V shape, with one mic's capsule positioned directly above the other.
(The 3-to-1 rule doesn't apply to the X-Y technique because the two capsules are so close that
sound waves arrive at both at essentially the same time, minimizing objectionable phase
cancellations.)
To start, try placing the two mics opposite the 12th fret of the guitar. If you have a really nice
sounding room to record in, try backing the mics up to a distance of one to two feet from the
guitar. This will capture more room tone and yield a more natural sound. While the
best-sounding position can depend upon the guitar, the room, or the mics, typically, placing the
mics around seven inches in front of the guitar's 12th fret will tend to de-emphasize midrange
frequencies. That's because one mic will be pointing in the direction of the bassy soundhole,
and the other towards the top of the neck, an area rich in high frequencies.
As you experiment, you'll find that the X-Y miking produces a much narrower stereo image than
the spaced-pair techniques. But you'll also hear how X-Y lends a smoother, warmer, and more
natural sound to acoustic guitar.

Choosing the Right Mics

By definition, stereo miking requires a pair of microphones. Certain types of recording
situations -- such as chamber orchestra, or an acoustic jazz trio -- demand extreme accuracy,
and in these cases, it's highly desirable to have a matched pair of microphones. This means
more than just two of the same model; it also calls for two mics that have been factory-certified
to produce virtually identical frequency response. (Some, though not all, manufacturers sell
matched-pair mics.)
Fortunately -- unless you're, say, capturing an audiophile-quality classical guitar recording --
you won't need a matched pair to record acoustic guitar tracks. In fact, you might not even
need to use two of the same model of microphone (though if you do you'll get a more
consistent timbre in each channel than if you had used two totally different mics). That said,
rules are meant to be broken, so feel free to experiment by mixing and matching mic models.
And like any musical instrument, every mic has its own sonic character, so try to get your
hands on as many different models as possible and experiment.
Generally speaking, condenser mics are the right choice for acoustic guitar. As a group, they
offer a far more detailed and realistic sound than dynamic mics. But before you choose a
specific condenser, first decide what kind of sound you want. Small-diaphragm condensers
(those with a diaphragm smaller than one-inch in diameter) generally offer a better transient
response than their large-diaphragm cousins, producing a less colored, more detailed sound.
For pop and country productions where guitar tracks will be tucked into dense arrangements
with drums and bass guitar, small-diaphragm mics are often the best choice.
Many engineers consider the AKG C480B ($987 with the CK61-ULS capsule), Neumann KM184
($729) and DPA 4011 ($2,190) to be among the best small-diaphragm condensers on the
planet. (All list prices are in US$.) All three sport cardioid (unidirectional) patterns -- meaning
they tend to reject any sound that isn't directly in front of them -- and sound awesome on
acoustic guitar. (Cardioid response is also required for most stereo miking techniques, in order
for the resulting recording to have a "left-to-right" soundstage.) AKG's C480B is a modular mic,
meaning that you can interchange various capsules -- each offering a different polar pattern --
with the mic body that holds the internal preamp. This mic features a 70Hz high-pass (low-cut)
filter, useful for rolling off unneeded low frequencies when recording acoustic guitar.
The Neumann KM184 exhibits an inherent low frequency roll-off at 200Hz, delivering guitar
sounds free of low-end "boominess." DPA's 4011 mic -- known prior to 1998 as the Brüel & Kjær
(B&K) 4011 mic -- features a 1dB roll-off in the midrange frequencies along with a 1dB rise
between 10 and 15kHz. The result is a crisp, though not overly bright sound. This 4011 has
treasured place in many mic lockers (including my own). Check out these links to hear the DPA
4011 on a Guild M20 acoustic guitar, with various mic placements.
There are plenty of other small-diaphragm, cardioid condensers on the market, many of which
offer decent performance for a lot less scratch. Some better-known alternatives that other
enginneers report good results with include Shure's SM81 ($530), AKG's C1000S ($297), and
Audio-Technica's AT3528 ($259).
Large-diaphragm mics -- those featuring diaphragms at least one inch in diameter -- can also
provide outstanding results when recording acoustic guitar. All other things being equal, these
mics tend to offer a slower transient response than their small-diaphragm counterparts. This
causes a slight de-emphasis in high-frequency detail and tends to give them a rounder, warmer
sound -- just the ticket for traditional jazz recordings and lean guitar/vocal arrangements. (It's
this warmth that makes large-diaphragm mics so popular with vocals.) The Lawson L47MP Tube
Condenser ($1,995) sounds great on acoustic guitar for these applications. I've also used the
Manley Reference Gold Tube Condenser ($5,500) with excellent results. On a budget but
craving that large-diaphragm condenser sound? Some mics I have used with great results
include the Rode NT2A, Studio Projects C3, and the Shure KSM32.
And what about a dedicated stereo microphone? These mics -- such as Shure's VP88 and Rode
NT5 -- typically have a pair of cardioid capsules mounted in one housing. While they may be
useful in certain applications, they're actually less flexible than a pair of independent mics --
since their diaphragms are physically fixed relative to one another. In other words, if you want
to try some of that mic-above-the-bridge, mic-above-the-fingerboard stuff, or any other
interesting variations, you'll want a pair of mono mics.

Mono-Compatibility, EQ & Compression

Stereo-Miked Acoustic Guitar Tracks and Mono-Compatibility
When stereo tracks are collapsed to mono, the result can sound dramatically different from the
original tracks. This is not only true of the listener's perception of the width of the stereo image
and the discrete placement of different elements in a mix: Conversion to mono can also
significantly change the timbre of individual instruments, especially if certain stereo miking
techniques were used to record the original. (In rare cases, the instrument could even
disappear from a mix, should the left and right signals be far enough out-of-phase to cancel
each other out when combined to mono.)
True, in the last couple of decades -- with AM radio's diminishing role as a music medium --
mono-compatibility has become less of an issue. And in fact, some engineers prefer not to
compromise their stereo tracks or limit their recording techniques to cater to the lowest
common denominator. Still, many engineers choose to play it safe -- ensuring that their miking
(or other processing) techniques won't sound terrible if played back in mono. However you feel
about this issue, you'll be able to make more informed choices on how to record if you know
what the sonic repercussions will be for mono playback. So what exactly happens to stereo
acoustic guitar tracks when they are collapsed to mono? The answer depends on what miking
technique you use to record.
Spaced pair techniques generally pick up a high degree of uncorrelated signal for each track.
That is, many frequency components on the left-panned track are more or less out-of-phase
with corresponding frequencies on the right-panned track. (This still applies even if you use the
3-to-1 rule for mic placement.)
This is because each of the sound waves emanating from the guitar will arrive at each mic at a
different time. Due to that time difference the mic will pick up the wave at a different phase of
its cycle. When the stereo signal is collapsed to mono, the constructive and destructive
interference of these out-of-phase components combine to emphasize and de-emphasize their
corresponding frequencies. The resulting timbre can be markedly different from your carefully
crafted stereo tracks and can play havoc with your mix. You might be able to compensate with
EQ, but this might exacerbate the problem.
Tracks recorded with an X-Y technique are far less prone to phase problems. Since the capsules
are placed so close together, the sound reaches both mics at roughly the same time. As a
result, tracks recorded in X-Y stereo are much more mono-compatible than those recorded with
a spaced pair.
A Word on EQ and Compression
Aside from the occasional use of a microphone's passive high-pass (bass roll-off) filter, I prefer
not to add equalization to the signal I'm recording. You can never tell in advance exactly how
yet-to-be-recorded tracks will interact with the guitar you're recording, so any processing you
add during recording is just a guessing game. Since you'll probably need to make subsequent
adjustments in timbre (and possibly dynamics) at mixdown, you should avoid processing the
signal twice. Your tracks will sound more pristine if you hold off adding processing until you
have a complete picture of how the tracks will fit together. Instead, if you're not getting the
sound you want during soundcheck, move the mics around until the timbre sounds right.
If you want to experiment with EQ as you're tracking, you can record the music dry and add EQ
on the monitor returns. This way, you can hear the results of the EQ without committing to it.
Though many engineers will compress an acoustic guitar during tracking, I usually don't like to
do so. As with other broadband, percussive instruments, guitar can easily cause a compressor
to pump (cause audible changes in level) if it's not set up exactly right. Once these amplitude
modulation artifacts are on tape, they are all but impossible to remove. For this reason, I
compress acoustic guitar tracks at mixdown -- when I have multiple opportunities to get it
right. For the money, the best compressor I have ever come across is the highly celebrated
FMR Audio RNC Compressor. At only $175, it simply can't be beat. In fact, it easily holds it's
on with other compressors in the $1000 price range. The RNC, coupled with the FMR Audio
RNP Preamp, has tracked some of the smoothest acoustic guitar I've recorded.