How many sources?

[stettoman]

Hi Harvey

I'm hoping you still check in. I'm looking for a confirmation.

I'm recording an acoustic guitar and have the ability to access multiple mics and direct sources simultaneously. I have matched pairs of SD condensers, a large Dia. condensor, a Senn 421, line out multed direct to pre and outboard, line out to a Genz-Benz Shenendoah 60, all onto separate tracks (kindly note there's no mention of a ribbon mic, maybe 'cause I'm waiting for SP to put one into production).

I realize that at some point it gets ridiculous, but is there a rule of thumb to determine overkill? I have the tracks available and want to be able to sculpt a rounded sound, but at some point it gets silly, yes?

I've recorded a lot of single-source tracks that have me regretting not using a different mic or other source, but sounded great at the time.

Dust off your mentoring hat and help me clue this in, could ya?

[hargerst]

Hi Harvey

I'm hoping you still check in. I'm looking for a confirmation.

I'm recording an acoustic guitar and have the ability to access multiple mics and direct sources simultaneously. I have matched pairs of SD condensers, a large Dia. condensor, a Senn 421, line out multed direct to pre and outboard, line out to a Genz-Benz Shenendoah 60, all onto separate tracks (kindly note there's no mention of a ribbon mic, maybe 'cause I'm waiting for SP to put one into production).

I realize that at some point it gets ridiculous, but is there a rule of thumb to determine overkill? I have the tracks available and want to be able to sculpt a rounded sound, but at some point it gets silly, yes?

I've recorded a lot of single-source tracks that have me regretting not using a different mic or other source, but sounded great at the time.

Dust off your mentoring hat and help me clue this in, could ya?
The rules (more like suggestions) are pretty simple:

If it's a solo acoustic guitar, or a backing track for a singer, you'd usually record the guitar in stereo, using two SDC mics, pulled back a few feet from the guitar.

If it's a guitar that's gonna be sitting in a full band track, I usually use just one small condenser mic, pointed at the bridge, positioned lower than the bridge.

[Alan Hyatt]

I like to stretch the rules...I suggest starting off the track the way it is supposed to recorded, then for the heck of it, mic the hell out of it from different positions and see what happens. You have nothing to lose but some time, and everything to gain if you get what you wanted.

[stettoman]

I like to stretch the rules...I suggest starting off the track the way it is supposed to recorded, then for the heck of it, mic the hell out of it from different positions and see what happens. You have nothing to lose but some time, and everything to gain if you get what you wanted.


Time I got, Alan. I had some neck bones fused recently and have been restricted from my day job, so yeah, nuthin' but time.

I wound up with a wacky-yet-effective (and not all that messy) setup that consists of a Senn 421 on the 12th fret, a B-1 over the shoulder, a pair of C-4s overhead and spaced about 5 feet apart, and a direct line out from an I-Beam Active. I'm hurting in the pre department, but the B-1 and I-Beam are running through 2 VTB1s, the rest through the pres on a Mackie VLZ board.

Yep, it takes up 5 tracks, but hey, what are tracks for?;)

[hargerst]

I like to stretch the rules...I suggest starting off the track the way it is supposed to recorded, then for the heck of it, mic the hell out of it from different positions and see what happens. You have nothing to lose but some time, and everything to gain if you get what you wanted.
Uh yeah, that could work too. Just watch out for phase cancellations when you combine some of those tracks.

[stettoman]

Uh yeah, that could work too. Just watch out for phase cancellations when you combine some of those tracks.

I get that. After a take or two I've been playing with mixes and have found a couple pretty useless fader combinations.

The reason for my initial post is that I don't play a Taylor or a Martin, rather a very old Seagull S6. It sounds fantastic in my lap but is NOT an engineer's dream. So, having time and curiosity, I play with the setup.

I have a high regard for your advice and input Harvey, and I realize that you come from a position of not only decades of experience and application, but that you do this for a living and time is not something you often have the option to waste on experiments that you pretty much already know how will end up. Me, on the other hand? Just a joe with a nice quiet 13' X 20' padded cell and a desire to find a sweet spot on the dial.

The C4s, BTW, add the neatest "open" flavor to the mix...:cool: