When I cloned the guitar and sax on a recent song.... I clicked on the new track properties tab and changed the start time from 1:01:000   to   1:01:040 and there was no apparent issues. I also spread the tracks 80% L and R respectively. 

Had I left them both centered or panned to the same side there might have been comb filtering issues, but they were not interacting in the same channel to any major degree.

The result was a nice stereo spread and a fatter sound.

Ok.  I have a short clip of the intro to a David Wilcox tune (in DADGAD tuning) that I recorded using two mics to a single track, and then cloning the track twice.  I then put the track with no e.q. in the middle, panned one emphasizing the low end hard left, and the other emphasizing the high end hard right.  I added a little stereo chorus and reverb to the middle track only. 

How do I go about sharing this WMA file with you?

Then I'll have to wait until tonight to do it.
 
A question about that: I've tried encoding a couple of MP3s and they've come out with what I think are insanely large file sizes for a short clip.  Is there a way to configure it so that the size of the file is 3 mb or under?

I am pretty sure that soundcloud allows uploading of wma's.

http://soundcloud.com/tour/

oh well.

Will try that.

By the way, for those who ask "Why didn't you use two mics to record a stereo take of the guitar?," my answer is that I had configured my Tascam US-800 in such a way that both mics were recording to the same channel, and I didn't want to mess with it.  I have Home Studio 7 on the way, which will allow me to use all six inputs from the Tascam correctly.  At that time, I will be able to use two mics to record the guitar in stereo, which hopefully will require less tricks in the mixing process (i.e,. no cloning, and very little chorus and reverb to fatten the guitar).  In other words, my goal is to get to a point where the principal tool for getting decent acoustic guitar sound (aside from the mics and the room) is the e.q.

Thanks Greg (I thought I already posted a reply).  I have always been a much better guitar player than vocalist, which is a curse, because most of the music-listening public is quick to spot good (or bad) singing, and rarely will notice good guitar playing underneath. So I need validation from fellow musicians.

We'll see what happens when I record a full song, guitar and vocals.. ..

Peace.

PS Thans for the suggestion re: Songs forum.  I've posted there a link to my post here.

Beagle,

Not much different from what I used to listen to the final mix . . .! 

Thanks.   I will endeavor to make it sound more acoustic as soon as HS7 is fully installed.

haha - I'm the one who was talking about phase problems being introduced when cloning (in THIS thread - you may be talking about the guy in the songs forum who said that)!  I did not notice any phase problems in the recording on the listen that I did.  but again, there are a lot of variables which come into play as to whether the phase problems will be heard or not.  one of them is that I'm listening in a noisy environment on crappy headphones.  I might not have been able to hear the cow mooing in the background, either!

I will try to give your piece a good listen on my home system tonight if I have time.  I'm a pretty busy person right now, so I might not get to it for a day or two at home.  but I'll try and give you a better detailed critique.

Well, when I get home, I am going to take most of the chorus out and elminate the clone tracks and see what that leaves me with.  A friend of mine who hosts the fingerpick magazine web site reminded me not to over-produce etc. when trying to record acoustic guitar and voice. . .
 
He also told me, much to my di$may, that my Ovation (particularly the Adamas) style, was never meant to be played fingerstyle -- which is what I've been doing with this particular guitar since 2004.

I would love to know why he says that, since from what i can tell most guitars play very similarly. I have three accoustics and all of them will fingerpick nicely, (if you can fingerpick) I have a Ovation 12 string and it sounds very nice. plugged in and picked

In fairness, I think Doug was speaking more to the quackiness of the pick-up -- which was the sole method I used to record the clip I sent to him (not the one I posted here).  That said, I have had trouble getting a good mic'd sound.  Traditional accoustic guitars have a soundhole that you can mic; my guitar is an Adamas style that has the smaller holes . . .

Noted.
 
So, if you had a 2004 Ovation Longneck, but had the opportunity to buy a used 2003 Takamine EAN-30c, would you do it (assuming you play mostly fingerstyle, which is what I do)?
 
People are urging me to give the Tak a close look.  I heard some sound clips of it on fingerpick.com, when it was tuned in Open G, and it sounded beautiful.

I've been following this thread with interest.
Here are a few thoughts.
You might like that Takamine. I noticed it has a cedar top. That was the deciding factor when I got my Simon and Patrick Woodland Cedar guitar.
The cedar top had a warmer tone than the more abundant spruce top guitars. During a 5 hour marathon mission, I kept circling back to this guitar, and finally walked out with it. It should be noted that I had a hard ceiling of $400, so I didn't even touch more expensive models.
Nonetheless, it's been a decision I've been quite happy with.
I'm sure a Takamine with a cedar top would be an exquisite sounding guitar.
As for the sound holes, that's not really a downside on your Ovation, because that's the last place you want to put the mic, as Greg alluded to.
Just for grins, thump on the face of your Ovation, first next to the neck, then just below the bridge. Hear the difference?
This is why mic placement is so important when recording an acoustic guitar. An inch or two in any direction can make a big difference.
I place dual mics similar to what Greg mentioned. A small diaphragm pencil mic near the 12th fret, angled toward the sound hole, and a second large diaphragm mic just below and behind the bridge.
Both are roughly 8" from the guitar, so no phasing issues.
Each is recorded to a mono track, and panned 20-60% opposite from center. This gives the guitar a large, but cohesive presence in the middle of the mix. The characteristics of the sound from each mic keeps it from collapsing to center.
Each of these tracks has a send to a reverb bus, which usually has GlaceVerb (a free download VST) inserted, because it is so adjustable. This allows me to define the space around the guitar.
The wider panning (60%) keeps the guitar cohesive, but leaves a void for something, such as your vocal track, to cut through the center. I rarely pan 100%, because to my ears, it's just too much separation, and the parts become detached.
Experiment. With the inputs you have, and the software, you have incredible control. The trick is finding that right balance.