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This is what i did, i used my new groove tubes gt66 mic, went through my vtb1 pre and ran it through an hhb radius 30 compressor with light settings, on a really nice ibanez acoustic. I positioned the mic about halfway up the fret board facing the sound hole. I thought it came out well, and i used the same signal chain for the vox as well with slightly different comp settings.

in my opinion i think the player and the sound of the guitar are most important.

heres a sample of that recording i just explained, i'm no pro engineer, its just a hobby, and the guy singing is a guitar player and not a singer.

http://www.songramp.com/view.ez?sampleid=31041

my 2 cents

bob

find out which mic sounds best in front of the guitar then move it around until it sounds better, then find out which mic sounds best on vocals and stick it in front of the singer. Don't be scared to use dynamics on the vocals. It may be easier to manage the bleed from the guitar into the vocal mic.

For that matter try the royer in fron of the acoustic and a dynamic on vocals that might be the best way to get seperation. If you are going for a more live room full sound then that will not matter as much.

For that matter try the royer in fron of the acoustic and a dynamic on vocals that might be the best way to get seperation. If you are going for a more live room full sound then that will not matter as much.

Or.....

It depends o.n how much you want to isolate the vox and guitar, but i've been experimenting with m/s recording and it's got some great benefits.

Here's what has worked. A 414 set in fig 8 pointed to the sides. Record this signal to two channels and reverse phase on one of them. I'm using a Rode NT2a in cardiod facing. Any fig 8 and cardiod pair will do for this. I happen to have fallen in love with the Rode - It's my baraing mic o' the year.

The just set the guy up and have 'em play. What you get is a remarkable stereo image that sound's pretty much like the person in the room. If you're room sucks or the guitar sucks this isn't a good idea.

The advantage is that you can now manipulate the stereo image by the faders on the fig 8 mic. More gain = wider image. That's cool for both solo stuff and for fitting the image into a mix.

Not for everyone, but if you haven't tried it, it's pretty cool.

TBone

I like to use a figure-8 on vocals - I'll direct the dead plane of the mic right at the sound hole of the guitar. I have a small (12" dia") acoustic baffle - I'll put that right up on the back side of the mic to keep room reflections out of the mic. What I do for the guitar depends on how important the guitar sound is - some folks I've recorded don't actually play that well, so I don't want a "big" sound. For that I'll take another figure-8 near the 12th fret (depending on the guitar) and direct the dead plane of that mic toward the "sound hole" of the singer - I'll put another baffle up behind that mic as well to control back-side reflections. I get great isolation on both mics.

For a bigger sound, I use an XY pair of SD mics, but keeping the vocals out can be a problem. I'd like to try an SD Blumlein pair with a baffle on the back, again and the dead axis of the pair lined up with the singer's mouth - but I need to get one more figure-8 capsule to do that.

Hey man, I've got some similar mics to you and I just did a session like that. Here's what I did.

R-121 MP2NV and EL8x on 12th fret (use your ear to find a nice spot)

AT 4050 (found a nice spot near the bridge, check for phase phunk with the R-121 and other mics)

TLM 103 MP2NV on vox

2 MK012's spaced pair about 15 feet away for roominess

OK. 1st make sure there is no phase phunk on the combinatino of mics.

2nd try to aim the "close" mics so that the vocal mic picks up the least amount of gtr and the gtr mics pick up the least amount of vox.

I put a little UAD comps and Plate Verb 140 (oh so sweet!!) and it sounds pretty bitchin. The client was very happy.

Try it, let us know how it turns out.