Timbre and position
Acoustic guitars, like all acoustic instruments, have the ability to change the timbre according to the recording distance and the position of the microphone. It is the producer's job to match the timbre of the instrument to the intended sound image.
When using the neutral DPA microphones as a tool, the engineer will be able to use the microphone as a natural equalizer with possibilities of adjusting balance, depth and the amount of finger sounds.
The ultimate choice: large diaphragm condensers
The ultimate microphone choice for an acoustic guitar is one or two 4041 large diaphragm omnis – probably the application the 4041 is best suited for. It will give you the most beautiful, clean and crispy timbre with everything you wish for in details and transparency. When using two 4041s, a nice choice is to place one outside the bridge and one towards the end of the fretboard and pan them after desired taste. An XY configuration could also be a good choice to open up the room space from a specific position. Use either 4011A Reference Standard cardioids, 4015A Reference Standard wide cardioids or 4041 omnis according to the desired recording angle and stereo spread.
The guitar's sweet spot
When the sweet-spot of the instrument is located, it can bring a beautiful depth to the recording if the microphone is pointed from the sweet-spot towards the fingerboard and the fingers.
Close miking with cardioid microphones from DPA is the perfect solution for live recordings, live PA, or studio recordings where the accurate and low-ambience sound is needed.
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The following advice can be used in searching for the sweet-spot on an acoustic guitar:
1: Adjust the height of the microphone stand to the mid of the guitar strings.
2: Microphone positions close to the front body of the guitar will probably give the best result.
3: The DPA first order cardioid microphones are neutral with regard to proximity effect at 30 cm distance on-axis. Closer microphone positions will add more low frequencies. Use the cardioid microphone off-axis (30°-45°) to adjust the clarity spot.
4: Listen carefully to the acoustic instrument in the microphone position and compare it with the sound impression in more natural listening positions.
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Close-miking with miniature condensers
For many applications the instrument microphone kit IMK4061 also comes in as a useful alternative. It can be fixed directly on the top deck with the supplied universal surface mounts; choose placement according to the desired timbre. You can also try blending in the IMK4061 with the pick-up signal from the guitar. The true, open acoustic sound color from the DPA condenser offers a realistic guitar sound you simply cannot achieve by any pick-up system.
Instrument clip mics for live situations
In live situations where you wish to zoom in on the rich details of the acoustic guitar and get a significant reduction of the surrounding sound sources the
d:vote™ 4099G clip mic is definitely the choice. The super cardioid is highly directional, but keeps the natural sound reproduction. The 4099G comes with a unique holder solution that is perfect for acoustic guitars of all sizes but also banjo, mandolin, ukulele, dobro, dulcimer etc. The mic can be mixed with the line signal, reducing the risk of feedback and with a more natural response than with the line signal alone. Using the DAO4099 cable is a practical approach allowing both mic cable and line cable to run in one dual cable. Furthermore, a box like the Headway EDB-1 box makes it convenient to blend the two signals.