I did a test recording for a potential client who is a classical guitarist.  We placed one mic at the 12th fret, about 15" from the guitar and one mic at the bridge at about 15" from the guitar.

The tracks sounded good to me, but he said that the recording sounded "too close" to the guitar.  We are currently testing mic placements.
I am looking for input on the best mic placements for classical guitar.  Any suggestions would be helpful.

Thanks

Tom

If that was the guitarists impression then I might try a stereo set up about 30" from the guitar body.

If you do that you'll need to work with placing the musician in your room so that the guitar sounds best and the mics are in a good sounding place to.

Close micing works well in most rooms but not everyone is interested in that sound. Near-far micing is great for getting a natural, familiar sound, but you have to assure that the natural sound is pleasing and some rooms make that difficult.

Keep it positive and help the guitarist find what they are looking for.

best regards,
mike

mike_mccue


If that was the guitarists impression then I might try a stereo set up about 30" from the guitar body.

If you do that you'll need to work with placing the musician in your room so that the guitar sounds best and the mics are in a good sounding place to.

Close micing works well in most rooms but not everyone is interested in that sound. Near-far micing is great for getting a natural, familiar sound, but you have to assure that the natural sound is pleasing and some rooms make that difficult.

Keep it positive and help the guitarist find what they are looking for.

best regards,
mike

Thanks, Mike

I personally like the close in miked sound.... and I can get a bit of distance in the sound with levels and reverb. 

Miking an acoustic guitar is an art.  The main thing is to have it sound natural after the fact in the mix. 

ONE MIC, over the shoulder, pointing down towards the top of the guitar.

will pick up more room sound, and the guitar itself.

this track will more or less become your 'room' mic, and you can decide how 'close' the guitar is, by using the other one.

Similarly to Bats,

If you have he mics and inputs at you disposal, a close setup and a room setup blended to taste. I have only recorded classical guitar twice, but I like the sound of a large condenser and a small condenser blended. I didn't take notes, so I don't remember which one was where. I believe the SDC was aimed at the picking fingers to get the attack. The blended tone can add the articulation that you may need later if other sounds are added.

batsbrew


ONE MIC, over the shoulder, pointing down towards the top of the guitar.

will pick up more room sound, and the guitar itself.

this track will more or less become your 'room' mic, and you can decide how 'close' the guitar is, by using the other one.

I have used this. One day it dawned on me that my ears were hearing what I wanted on the mix..... so why not put the mic next to my ear? Theoretically, it should pick up the exact sound I'm hearing. 

"Theoretically, it should pick up the exact sound I'm hearing."

Yes, IF you use a omni pattern mic.

:-)


best regards,
mike

yes, mic selection is important in this situation

it does not HAVE to be a omni pattern, but it HAS to be the right mic for what you want.

only you can decide that, by experimentation and experience.

When I do it, I like use one of my "shotgun" mics, like a MKH70 or a MKH60.


The omni comment was referring to the way our ears hear in omnidirection.


best,
mike