Re: My Hoboken & Westerly F-112s
These are some interesting and thought-provoking comments. Although I’ve recorded quite a few different guitars over the years I never really gave much thought to the psycho-acoustic issues. But I think Chazmo is probably right about harmonics and overtones. In a mix, it’s always important to give each instrument a sonic space of its own (sorry, Phil Spector), and when recording multiple guitars each has to have a recognizable identity or things can get mushy. Panning does this to some extent by placing instrument further away from each other in the stereo field, but it is also important to have some control over both the very high frequencies as well as the very low frequencies in an instrument’s range. I think that too many ringing and clashing harmonics from multiple stringed instruments can “stand in the air” so to speak and create an indistinct sonic wash that blurs the identity of individual instruments. At some point, the engineer might start rolling off high end to compensate, but this will soon start to affect the fundamentals of the instrument. Larger guitar bodies like dreads and jumbos are great for performing live; they project more powerfully, and, depending on the instrument, can give a fuller richer sound when volume is necessary. Smaller bodies can start to “compress” when you hit them too hard. But recording is often a more intimate setting, even when the desired sound is ultimately big. In short, the mic is the boss here, and smaller bodies, having a more intimate sound, translate better when recorded. This is not to say that you can’t get a great sound with a good dread, but you have to pay closer attention to mic placement and room ambience. The same principle seems to apply to ampified electrics - big amps don't usually give a good sound in a small studio setting (unless you want to sound like Black Sabbath). This is why even giant srceaming leads are so often recorded with suprisingly small amps in most sudios
I don’t have a lot of experience with rosewood, but I did recently record a Larrivee L-9 (I believe – it could have been an L-7). Sounded very pretty damned good but I had to roll off some mid bass (the so called mud range between 200 and 300 Hz) to get the desired clarity through to the mic. Funny, because listening to the instrument acoustically, it sounded terrific. This was no big deal, but it did require some additional attention to the lows.
From my even more limited experience with maple, all I can say is I recorded a Gibson Gospel not too long ago (I believe it was anyway– or at least some sort of 70s model with maple back and sides). Once again sounded pretty good acoustically, but overly bright at playback (the opposite effect). Here it was necessary to roll off some high end (6 – 8 kHz) to get it sounding like itself, so to speak.
I also agree with Fungusyoung. Mahogany tops give a great sound for blues and old time stuff, and they have a very distinctive character, especially in the midrange fundamentals (I own a Martin 00015S). The mahogany top, combined with the small body and also the matte finish on these models make them nice recording instruments (the good ones ooze personality). One minor caution with these though – put new strings on before recording. The mahogany seems to absorb more high frequencies (hence the midrange emphasis) and older strings can sound dull when recorded. I’ve never recorded a Guild mahogany top, but I suspect they behave much the same.
One last comment before I bore everyone here to death. If possible use a matched pair of small diaphragm condenser mics (“pencil mics”) if possible - one at the base of the neck above the sound hole for sparkle and one midway between the sound hole and the bottom of the lower bout to capture the depth of the body. I have a number of different large and small diaphragm mics, but I seem to gravitate to a pair of Samson C02s. These are relatively cheap mics (about $125 a pair!), and I usually wouldn’t recommend Samson products, but somehow or other (at least to my ear), they are very nice for acoustic guitar. The frequency response seems to be close to optimal for what acoustics do. Of course, if you have a pair of Neumann’s use those by all means.
, and even more for the advice. I made these recordings as part of a CD I gave my 81 year old Mom and Dad last Xmas... in my basement room w/o any real heed paid to the acoustics. I can tell you, It's a bit difficult to be a sound engineer at the same time you're the performer (basically, I just try and get things set up, and then forget about the recorder and play). I don't even monitor when I am playing... so I don't know what it sounds like until I am finished. Thx again,