So what's up? Nobody records classical guitar here? Well, if you do, please let me know what you've been using, I'm trying to get a good sound out of a decent classical guitar for the time being, until I can pick up a new one.

I've had very nice results with a pair of Earthworks QTC-1's. They don't have much/any character, so if that's important to you, they might not be your first choice. If the guitar itself sounds nice though, you should consider giving the earthworks a try.

Goodluck,
J

Originally posted by teddancin:
So what's up? Nobody records classical guitar here? Well, if you do, please let me know what you've been using, I'm trying to get a good sound out of a decent classical guitar for the time being, until I can pick up a new one.

Damn...I just recorded a nylon, along with abourt 6 other Acoustics (Nashville tuned, Dreadnught, ect). I can't remember what I used in particular on the nylon...I was using sm57 451's, Royer 121, MicroTech Gefell (read: Large Diaphram condenser),with all the usal pre suspects(neve1272, calrec1061,UA2-610). I just use what I have, usually(i.e. rarely rent), and what makes the biggest differrence for me (aside from the player/intrument /room and position of the mic) is just the absolute differrence inherrent between types of mics...i.e....dynamic vs. large-diaphram-condenser vs, ribbon, ect.
If I have at least one mic from these camps, I can always get a good sound.

Particular model recommendations anybody, for our friend ted?

jconnolly-
wow, QSTC-1's huh? And you say you use two of them? They're the OMNI EarthWorks mic's, correct? What type of preamp are you using with those? I was planning on using my Great River MP-2MH with whatever mic I was using. Do you place the mics really close to the guitar because they're omni and won't have gnarly proximity effect? Thanks for the nfo.

RecorderMan-
Do you find you prefer the Large Diaphragm Condensors on most acoustic guitars? Thanks for the help.

I know the gospel is to use sm. diaphragm condensers, and I have a pair of QTC's too, but for some reason I like the sound of large diaphragm condensers. I use a Lawson L47 aimed at around the 12th fret and either a Gefell UMT800 or a BLUE Mouse on the sound-hole side, both fairly close in. That's because my room sound sucks.

If you do use QTC's, make sure you use a preamp with a LOT of headroom. Those QTCs are HOT, and an unexpected transient here and there could get nasty. I like my API 3124+ with them, because it doesn't get ugly when you overdrive it a little.

littledog-
Haven't heard tooooo much about the Gefell UMT800, how does it sound as a microphone in general? Have YOU heard a Schoeps 221B or M222B? I'm just damned curious how they stack up to the rest. Thanks.

Hi Ted,

I've also had very good results with the QTC1s through a Millennia Hv3. I placed them about 15" back about a similar distance apart. One pointing at the 14th fret or so and the other at the 6th string on the bridge at slightly different heights to accomodate the angle of the instrument. I've also had good results with Km140s and mk4s. Working this close really exacerbates the effect of any changes in the players position, you have to stay on top of it and make the player aware of the sound of their shifts. Given that this type of recording is so prone to multiple takes and many edits per piece consistency is very important. If the player is very prone to moving something closer to ortf and a bit more distance can help.

Your MP2 should be just dandy. Sometimes I'll use my DW Fearn or Earthworks pres depending on the gtr/player/mic combination.

i always forget you can't use the frickin back button on your browser here....

Although not a nylon string guitar session, I used two Beyer m260-DX's (x-y) though a Phoenix DRS-2 with a Gibson J185 Friday. Worked like a charm for the track.
The M260 and a Phoenix DRS-2 are a deadly combo. The Phoenix is deadly period.

Dan-O

wow, thanks for all the information on the mics. But nobody's used the Schoeps mics for classical guitar?

Greg-
Have you used your Qtsc-1's for drum mics... maybe as overheads? I've heard that they're excellent for this application, and if they're really that good on classical, I might have to pick up a pair. Thanks for the advice.

Dan-o-
Ribbon Mics on acoustic huh? I didn't think the royers sounded too hawt on classical, and they're som high-end ribbons. Not that they sounded bad, but wouldn't be my first choice of mics for classical. And you used the Phoenix pre? Isn't that similar to Neve pre's? I haven't had the chance to use one yet, but I've heard good things about them. You say it even sounds good on acoustic? Does it warm it up like a Neve? Thanks.

teddancin

Ribbon Mics on acoustic huh?

Yes. Why not? Very detailed. Softer highs but very present.

I didn't think the royers sounded too hawt on classical, and they're som high-end ribbons.

Just a suggestion. Don't know about the Royers (high end or not :) ), but I find that ribbons make their own way in a mix without much effort other wise. I also find them accurate. It worked extremely well for me. Might not for you. Just a thought.

And you used the Phoenix pre? Isn't that similar to Neve pre's? I haven't had the chance to use one yet, but I've heard good things about them. You say it even sounds good on acoustic? Does it warm it up like a Neve?

Yes. It's based on the 1081 module and I haven't found ANYTHING that doesn't sound great with them. Although, I think I would opt for a Great River MP2-NV for your session. The Phoenix might be a bit more colored than the Great River, but without hearing the source and the room...
I like color. That's just me though. Again, just a thought.

Dan-O

...I also wanted to mention that I've had pretty good results with the Oktava 012 as well.

Dan-O