A mono R-122 usually sounds best when it's positioned at about the 12th fret, 5 to 10 inches off the neck. The back side of the R-122 produces a slightly brighter sound than the front side of the mic due to its offset ribbon design, so we recommend turning the mic around and trying the back side for tracking acoustic guitars. We've seen this method used on countless sessions and we highly recommend that you try it - it's our favorite way to track acoustic guitar! (Note: this method applies only to our R-series mics, not our SF-series mics.)
Steve Page of Barenaked Ladies tracking with a backward R-121.
An excellent method for tracking the acoustic guitar in stereo is to use two R-122's positioned head-to-head in a Blumlein pair (X-Y). The two mics are positioned at 90 degrees apart, one facing the body of the guitar and one facing the neck. We suggest using the back side of both mics, remembering to flip phase at your pre's.
A spaced pair of R-122's will give a nice, wide stereo recording. Again, we suggest using the back side of both mics, remembering to flip phase at your pre's.
Joe Garcia tracking at Milestone Recording & Post. Engineer, Annie Miles.
When using an SF-series mic, try the same position on the neck (12th fret) but at least a few inches further back from the guitar. If you're using an SF-12 or SF-24 stereo ribbon mic, also experiment with the mic out in front of the guitar for great stereo acoustic guitar tracks.
Pierre Bensusan tracking with an SF-24 and two small diaphragm condensers.
Another technique is to place an SF-24 stereo ribbon several feet above the player, positioned horizontally like a stereo drum overhead mic. It's an extremely natural sounding position that picks up the guitar more from the perspective of where the guitarist hears the instrument.
Steve Page of Barenaked Ladies tracking with a backward R-121.
An excellent method for tracking the acoustic guitar in stereo is to use two R-122's positioned head-to-head in a Blumlein pair (X-Y). The two mics are positioned at 90 degrees apart, one facing the body of the guitar and one facing the neck. We suggest using the back side of both mics, remembering to flip phase at your pre's.
A spaced pair of R-122's will give a nice, wide stereo recording. Again, we suggest using the back side of both mics, remembering to flip phase at your pre's.
Joe Garcia tracking at Milestone Recording & Post. Engineer, Annie Miles.
When using an SF-series mic, try the same position on the neck (12th fret) but at least a few inches further back from the guitar. If you're using an SF-12 or SF-24 stereo ribbon mic, also experiment with the mic out in front of the guitar for great stereo acoustic guitar tracks.
Pierre Bensusan tracking with an SF-24 and two small diaphragm condensers.
Another technique is to place an SF-24 stereo ribbon several feet above the player, positioned horizontally like a stereo drum overhead mic. It's an extremely natural sounding position that picks up the guitar more from the perspective of where the guitarist hears the instrument.
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