Recording Classical Guitar

[TROGDOR!!!]

Hey all!  I just recieved a very exciting call from an amazing classical guitarist who teaches at one of the local universities.  He wants to finish recording a Christmas album which he had begun with the guy who previously rented the studio which I now occupy.  WOOOHOO!

I am confident that I can give him a great product as is, but I'd love for it to be absolutely amazing.  The performance will be outstanding, no doubt, and his guitar is incredible.  Anyway, I'm searching the web for these topics as we speak, but I was just wondering if any of you guys have any tips about what mics you like to use, mic placement, EQ, Reverb, or anything else that might be useful.

Thanks a million!

Josh

The process I've been using lately... a small diaphragm condenser located at the lower bout (just below the bridge) pointed back up (off axis) from the soundhole.  Another small diaphragm condenser located around the 12th to 14th fret angled back in towards the soundhole.  A large diaphragm condenser over the players right shoulder (about ear height) pointing down.  And.. another large diaphram condenser about 3-4' back away from the player picking up the instrument and some of the room.  If the guitar has any type of transducer pickup, you can bring it back to the board as well.  I record all tracks and work on various combinations.  I've been using Oktava 019's for the small diaphragms and Oktava 219's for the large.  

I'd use a couple of small diaphragm condensers in an XY config from about one to three feet out.

[TROGDOR!!!]

Thanks for the advice guys.  I saw some similar stuff on (...drumroll...) studiocovers.com!  What a surprise!  LOL!    Anyway, I'm sure I'll be full of more questions as this project progresses!

Thanks again,
Josh

[TROGDOR!!!]

I've been using Oktava 019's for the small diaphragms and Oktava 219's for the large.  

I found some decently priced 219s on eBay, but I didn't see any 019s.  What do you know/think about the Oktava MK 012s?

Josh

The key thing here is that you are finishing an album already started.  So you've got two choices - come up with a sound that's so stunning that he will scrap the work already done, or come up with a sound that's identical so the new tracks will match the old.  So I'd be listening hard to the existing material, and finding out from him how it was done, or asking the previous engineer if that's diplomatically possible - or use your ears to try to work it out for yourself, but he may not be up for too much experimentation on the day while you A/B the original sound.

I'd use an MS pair if starting from scratch at a distance appropriate to the room, but I'm an MS bigot.

- Ozpeter

but I didn't see any 019s.

That's because there ain't none!

What do you know/think about the Oktava MK 012s?

That, that's the right number and I typed the wrong number in!  


Your a purdy sharp fella Josh.... I'm gonna keep my eye on you!  

[TROGDOR!!!]

To Ozpeter:  I just hope I can get the originals... so far, tracking down the previous engineer has been a nightmare!  If I can get in touch with him, though, he's a friend of mine, and I'm sure he'd be willing to talk to me about his mic setup, etc.  I know he was using Rode mics.

To Voodoo:  I wondered if that might be the case.  I may just have to pick up a few then.  I certainly can't complain about the price!

Thanks for the advice guys!

Josh

To Graeme:

 
Weird things is happenin' 'round these here parts...

You mean, as in, mistaking Melbourne for Almeria?
Heh-heh!  

[TROGDOR!!!]

Wierd things???  What wierd things?  I don't see no stinkin' wierd things...

 
Josh

FWIW, my plan is to blame any personal wierdness on sleep deprivation!  Now, what's ya'lls excuse?  

[TROGDOR!!!]

Once again, I place the blame squarely on tight pants...

Josh, do you have any classical guitar CDs?  The three things that annoy me in classical guitar recordings are:

1 - fret and string noise overaccentuated by overly close miking.  A classical guitar is meant to be heard unamplified in a sweet room, and under those circumstances, such noises are greatly diminished by acoustics alone.

2 - too much reverb.  A solo guitar won't fill a 3,000 seat hall with a 3-second tail.  It has to be believable.  Tracking in a bathroom might be an advantage!

3 - a twangy sound.  Our local commercial classical station uses a guitar bit before midnight that has hideous tone quality (the playing isn't so musical either).  Why anyone thought it was a good bit for bumper music, I'll never understand. (They never replied to my inquiry as to what it was.)  In the manner of Segovia, the best thing a guitarist can do is to make the melodic line "sing," and the best thing the engineer can do to support that is to give the recording a sound that is both rich in warmth and crisp, but never strident.

And get rid of those pants before it does brain damage.

[TROGDOR!!!]

I agree with you on every point!  Unfortunately, the previous engineer broke both of the first two rules pretty badly.  I'm actually hoping that I won't be able to get those tracks from him so I can start over!  Oh well, we'll see.

I'll try to post my work along the way so I can get advice/guidance as I go.

Thanks all!
Josh