I would like to offer something new to Home Recording Blog Readers !!

I’ll be publishing Logic Pro 9 and Reaper 4 video tutorials starting tomorrow but I would like you to tell me what you would like to learn about either Logic or Reaper or both.

All you have to do is to post a comment with your request subjects

I’ll be waiting for your comments

Eric

Home Recording Blog is back, I’ve been really busy for the last few months producing quite a few bands but as it’s quieter now, I will try to update the blog more often and I have lot of good content coming and the site will have a complete make over coming shortly

So, stay tuned !!!

Avid today announced Pro Tools 9—an impressive evolution of the industry’s most popular music creation and audio production solution. Version 9 of Pro Tools offers customers the unprecedented choice to work with Avid audio interfaces, third-party audio interfaces, or no hardware at all when using the built-in audio capabilities of your computer. New support for the Avid EUCON open Ethernet protocol now enables customers to expand control surface options to include Avid’s Artist Series and Pro Series audio consoles and controllers.

Pro Tools customers—from the aspiring enthusiast to the professional—can now create sophisticated, great sounding mixes, whether they’re at home, on the road, or working in a large facility using an open, flexible workflow for enhanced collaboration and creativity.

Customers can design their workflow of choice using the new Pro Tools 9 software-only configuration with their favorite Avid or third-party audio interface—or standalone—and with Avid Artist and Pro Series controllers. The benefits to users include:

• Versatile workflow design options—Enables customers to work the way they want using Pro Tools as a software only tool, or with hardware options that include either a variety of Avid audio interfaces for an Avid-advantaged workflow, or third-party audio interfaces as a result of new Core Audio and ASIO driver support.
• EUCON support—Delivers more hands-on mixing options to customers using the new Pro Tools 9 software offering or Pro Tools|HD systems with the ability to deeply control Pro Tools through EUCON integration using any Artist Series or Pro Series audio controller or console (formerly known as Euphonix consoles and controllers), in addition to Avid and third-party audio control surfaces.

As a result of customer requests, many high value features formerly available as add-ons are now available right out-of-the-box, including:

• Automatic Delay Compensation—Equips customers using Pro Tools 9 with the ability to create better sounding mixes faster. Users can now mix and record with increased alignment and phase accuracy, without the need to manually compensate for latencies from hardware I/Os, internal and external routing, and plug-in algorithm processing—the number one request on the Pro Tools IdeaScale User Forum.
• More audio tracks and busses—Allows customers to create more elaborate music and audio productions, with support for 96 mono or stereo voices in the new software-only version of Pro Tools (192 voices with Pro Tools HD systems), 256 internal busses, and 160 aux tracks.
• Advanced production toolset—Gives customers access to standard professional tools in Pro Tools 9 to create more polished mixes out-of-the-box. Users can analyze and adjust timing across multiple tracks for tighter rhythm with the built-in multi-track Beat Detective module, improve organization and asset sharing with the DigiBase Pro file management tool, and save time with full Import Session Data dialog.

A series of audio for picture enhancements provides customers with the ability to easily collaborate with other audio and video software users, including:

• OMF/AAF/MXF interchange and MP3 export—Provides customers with simplified session and file exchange between applications.
• Built-in Time Code Ruler—Enables customers to achieve greater accuracy when syncing audio to video in post production (software only configuration of Pro Tools).
• Updated 7.1 surround panner—Allows customers to more easily mix multichannel surround for full film sound production.
• New variable stereo pan depths—Equips customers with authentic and precise track panning capabilities to achieve analog-console feel.

Pro Tools 9 and Pro Tools HD 9 software will be available worldwide on November 12, 2010 starting at $599. For regions outside of the U.S., please see your local retailer for pricing.

www.avid.com

Avid today introduced Pro Tools | HD Native, enabling a growing market of music and post-production professionals to tackle demanding audio projects using the full capabilities of Pro Tools HD software running entirely on computer CPU host-processing power.

Taking advantage of the rapid advancement in the performance of computer processors, this newest member of the Pro Tools family couples the cutting-edge software features, premium sound quality and broad compatibility of Pro Tools | HD systems, with a highly efficient native audio driver. This combination offers customers outstanding performance without the additional dedicated processing hardware included in larger Pro Tools | HD DSP-assisted systems.

The Pro Tools | HD Native system offers customers a completely integrated professional hardware and software solution featuring a new Pro Tools | HD Native PCIe card and running Pro Tools HD software—delivering a new level of price-performance and simplified, open workflows for recording, editing and mixing. Providing the best audio quality, Pro Tools | HD Native uses Pro Tools HD Series interfaces for up to 64 channels of premium audio conversion and I/O.

Support for SYNC HD enables accurate synchronization to picture for post-production workflows. For integrated monitoring and tactile control, the system integrates with Avid ICON and C|24 work surfaces, and features lossless session and project interchange with other Pro Tools and Avid video editing systems for simplified collaboration.

Additional features include:

• Third-party DAW support—Opens up workflows by giving customers the flexibility to work on their DAW of choice with support for Core Audio and ASIO drivers, enabling broad compatibility with third-party audio applications, such as Apple Logic, Steinberg Cubase, and others, while also offering Avid-advantaged integration with our own solutions.
• Integrated low latency mixer—Allows customers to focus on recording high quality audio with near-zero latency, rather than the distraction of managing a separate low latency mixer. The Pro Tools | HD Native PCIe card enables customers to easily establish a low latency monitor path directly in the Pro Tools system with the push of a button for set and forget direct monitoring while tracking.
• Pro Tools HD Series Interface support—Offers customers the ability to achieve premium audio conversion with up to 192 tracks of audio, and up to 64 channels of I/O using HD I/O, HD OMNI and HD MADI. Customers can create flexible configurations that support a variety of analog and open digital formats for seamless integration into any audio environment. Giving customers an even broader selection of I/O, the system is also compatible with legacy Avid Pro Tools HD interfaces.
• Broad compatibility—Provides customers the flexibility to use their platform of choice with the highest performance and stability available on a native platform, supporting both Windows 7 and Mac Snow Leopard 10.6 or higher.

The Pro Tools | HD Native system will be available worldwide November 5 starting at $3,495. Pro Tools | HD Native will also be available bundled with Pro Tools HD OMNI I/O starting at $5,995. For regions outside of the U.S., please see your local retailer for pricing.

www.avid.com/products/Pro-Tools-HD-Native

Avid has introduced a set of tools—including the new Pro Tools Mbox family, the M-AudioMobilePre and Pro Tools SE bundles—for a range of musicians who are seeking to create, record and mix music at home or on the road.

Designed for musicians and audio engineers looking to turn their Mac into a portable professional recording, mixing and production studio, the third generation of the Pro Tools Mbox family—Pro Tools Mbox Pro, Pro Tools Mbox and Pro Tools Mbox Mini—offers customers premium sound and open workflows with support for the industry’s most popular DAWs. Based on customer feedback, new features in the Pro Tools Mbox family include:

• Re-designed hardware with pro features delivering best-in-class audio—Delivers best-in-class audio quality, enabling customers to achieve professional results at home or on the road. Redesigned from the ground up leveraging Avid’s expertise in professional studio gear, the newPro Tools Mbox family also features several workflow enhancements including: A professional-grade soft clip limiter that improves overall audio quality by letting users capture hotter signals while recording; and a multi-function button allowing Pro Tools Mbox and Pro Tools Mbox Prousers to control software parameters without using the computer mouse or keyboard.
• Freedom and flexibility to compose using Pro Tools LE or your DAW of choice—Gives customers more options to compose, record, edit and mix with seamless support for the industry’s most popular DAWs, including Pro Tools LE, Ableton Live, Apple Logic, Steinberg Cubase, and more, ensuring sessions are compatible with studios around the world.

For first-time Pro Tools users and emerging artists with an interest in musical composition, editing and production, the new Avid Recording Studio, Avid KeyStudio and Avid Vocal Studio systems provide everything needed to easily create and record music at home, including new Pro Tools SEsoftware and proven M-Audio hardware.

With Pro Tools SE software included, the new Pro Tools SE Family serves as an introduction into the world of Pro Tools software by offering the same user interface found in Avid’s professional Pro Tools product line. Now, Pro Tools SE software offers customers groundbreaking music creation capabilities that leverage technology from professional-level Pro Tools products at a fraction of the price with a very intuitive user interface. The Pro Tools SE Family, which offers dedicated solutions for guitarists, keyboard players and vocalists, includes:

• Avid KeyStudio—Makes it easy for keyboard players to turn their inspiration into a professional-quality recording with a 49-note, velocity-sensitive M-Audio KeyStudio keyboard and Pro Tools SE music creation software.
• Avid Recording Studio—Allows customers to capture guitars, instruments and vocals in better than CD quality at 24-bit/48 kHz with Pro Tools SE music creation software and an M-Audio Fast Track audio interface.
• Avid Vocal Studio—Enables customers to record vocals for use in songs, soundtracks, podcasts or voice-overs with Pro Tools SE music creation software and the M-Audio Producer USB microphone.

With Pro Tools SE software, users can:

• Mix up to 24 tracks (16 audio tracks, 8 virtual instrument tracks) and use the included pro-quality effects—reverb, EQ, and guitar amp/distortion effects—to   create richly detailed and polished recordings.
• Use more than 100 different virtual instruments and more than 3 GB of audio loops to quickly construct songs and ideas.
• View integrated, intuitive tutorials that make it easy to learn how to compose, record, edit and mix on the Pro Tools SE platform.
• Record two instruments at once, and take advantage of built-in composing features including MIDI sequencing and score editing, which provide professional-grade creative solutions to users of every ability level.

The second-generation MobilePre delivers musicians an easy-to-use, full-featured studio-quality recording, mixing and production solution.  Customers can easily record anything from guitar, vocals, keyboards and more directly into their computer, and have the option to compose, record, edit and mix with included Pro Tools SE software, or any of the industry’s most popular DAWs, such as Pro Tools M-Powered, GarageBand, Apple Logic, Ableton Live and more.

Pricing and Availability

Pro Tools Mbox family pricing begins at $399 for the Pro Tools Mbox Mini, $679 for Pro Tools Mbox and $899 for the Pro Tools Mbox Pro. Pro Tools Mbox and Pro Tools Mbox Mini are available worldwide this month. Pro Tools Mbox Pro will be available worldwide in Q4.

Pro Tools SE bundles begin at $99.99 for Avid Vocal Studio, $119.99 for Avid Recording Studioand $129.99 for Avid KeyStudio and will be available in the US this month.

MobilePre is currently available worldwide for $179.

www.avid.com

MOTU is now shipping the MasterWorks Collection, an advanced audio plug-in bundle for Pro Tools, Logic Pro, Cubase, and other Mac OS X hosts that support RTAS, Audio Units, and VST3 audio plug-ins. The bundle includes three masterfully crafted audio processors suitable for even the most critical and demanding mixing situations. Originally developed exclusively for Digital Performer, the MasterWorks series plug-ins have developed a reputation for their incredibly authentic analog hardware modeling, 32- and 64-bit internal floating point processing, and highly CPU-efficient performance.

“MOTU has received many requests from Pro Tools, Logic, Cubase, and Live users who wanted to get their hands on Digital Performer’s MasterWorks plug-ins,” said Jim Cooper, MOTU Director of Marketing. “Now they finally can.”

Inspired by legendary British console EQs, the MasterWorks EQ delivers the look, feel and sound of the most sought-after classic analog equalizers.

Users can apply up to five bands of EQ filtering, each with four EQ types that provide popular modern EQ styles and vintage analog EQ styles alike. Each filter type uniquely handles the dynamic interaction between Gain and Q. This crucial relationship has been modeled to emulate the smooth and musical character of classic analog EQ circuits, in which the gain/Q dependency was dictated by the actual circuit design and electrical components used. The resulting filter types exhibit astonishing versatility, from minor corrective tasks to highly creative applications.

Two mid bands include shelf filtering, and two outside bands provide variable slope low- and high-pass filtering. A full- width graphic display allows users to click directly on the filter control points for total control and visual feedback of the EQ curve being applied. Users can also view a real-time FFT display of the audio material being EQ’d to immediately see the effects of the filter on the frequency content of the audio.

The MasterWorks EQ has been carefully crafted and meticulously engineered to produce satisfying, musical results in a wide variety of applications.

The MasterWorks Leveler is an accurate model of the legendary Teletronix LA-2A optical leveling amplifier, known for its unique and highly sought-after Automatic Gain Control (AGC) characteristics. Conventional compression and limiting do not apply here: the heart of the LA-2A is the T4 opto-coupler, a photoelectric device with almost magical (signal dependent) self-adjusting behavior that has made the LA-2A the tool of choice for smoothing out just about any audio material, from vocals to bass guitar to full-program mixes, without destroying perceived dynamics.

Thanks to CPU-efficient performance, users can freely apply the Leveler as needed to the elements of their mix.

To ensure the accuracy of the modeling, the Leveler’s software controls match the front panel of the original LA-2A hardware: Gain Reduction, Makeup Gain, and Response knobs, along with Limiter and Compressor buttons, plus an accurately modeled VU meter that adheres to IEC standards. TheMasterWorks Leveler model is so accurate, users need to give the plug-in a minute or two to warm up and “settle in” to its fully operational state, just like the real hardware. A menu option lets users save the “warm” state, without waiting.

The LA-2A hardware line evolved over the years, producing slightly different characteristics in each generation, so the MasterWorks Leveler also provides four different LA-2A models: Slow Vintage, Fast Vintage, Slow Modern, and Fast Modern.

From soaring cathedrals to primordial forests, ProVerb is a CPU-efficient convolution reverb that delivers the sound of stunningly realistic acoustic spaces to any track or mix. Convolution is a process where the characteristics of a real acoustic space, such as a concert hall, sound stage or cathedral, are “sampled” (captured) and then faithfully reproduced, down to the last detail and nuance. Because it is sampled, not synthesized, convolution reverb is known for its stunning realism, and it is widely considered to be the best type of reverb that money can buy.

ProVerb delivers convolution reverb with CPU-efficient performance and real-time parameter adjustment. Dozens of preset acoustic spaces (impulse responses) are included, from halls and stages, to plates and cathedrals. For many presets, a sub-menu provides different locations within the space. For example, the cathedral preset sub-menu lets users choose the alter, front pew, middle pew, or back pew. Many presets also offer left, center, and right positions, so users can spread different elements of their mix.

ProVerb’s factory presets sound particularly rich and acoustically accurate because both the impulse responses (sampled spaces) and the ProVerb convolution engine process four separate channels for stereo processing: two channels (left and right) for the left side and two channels for the right side.

Users can simply drag and drop any standard audio file into ProVerb’s waveform display to add their own presets. Many “impulse response” (IR) audio files can be purchased or downloaded for free on the internet. Any audio material can be used as an impulse response, often producing unpredictable and interesting effects appropriate for sound design applications.

ProVerb is heavily optimized so that all parameters can be adjusted in real time, even when modifying the impulse response waveform. What might take 10-15 seconds in other convolution products occurs almost immediately in ProVerb, as you adjust a parameter. Users can quickly sculpt their sound with predelay, damping, four bands of EQ, and wet/dry mix.

ProVerb includes a unique Dynamic Mix feature that automatically “ducks” the wet signal as the dry input signal rises, then raises the wet mix as the dry signal level subsides. Properly tuned, this feature functions just like a mix engineer expertly “riding” the wet/dry mix control during playback.

ProVerb supports six different channel format variations, including mono-to-stereo, stereo-to-stereo, and even stereo- to-surround and surround-to-surround.

The MasterWorks Collection is now shipping for Mac OS X 10.5 or 10.6. The list price is $295. Digital Performer 6 and 7 users already own the MasterWorks plug-ins, which are included with DP. However, they might choose to purchase the MasterWorks Collection so they can use the plug-ins when collaborating with colleagues using other hosts. AudioDesk users can either upgrade to Digital Performer or purchase the MasterWorks Collection to obtain the plug-ins.

www.motu.com/products/software/mwc/

Propellerhead Software today released for sale worldwide the biggest overhaul to its Record and Reason application family to date. These highly anticipated upgrades to Reason 5 and Record 1.5introduce new instruments, effects, sequencing, sounds, patches and more for composing, beatmaking, loop-mangling, vocal treatment, songwriting, remixing and music production.

The new Kong Drum Designer and Dr. Octo Rex loop player extend Reason’s instrument arsenal to help musicians get phenomenal sounding rhythms, drums tracks and beats. Reason 5 and Record 1.5 add a whole new take on sequencing: Blocks—build songs parts like patterns and string them together for lightening fast arranging with the ability to freely go back and forth between pattern and linear modes. Neptune, a pitch correction tool and amazing voice synthesizer, turns less than perfect performances into great ones in no time. Simply play new harmonies on a MIDI keyboard for instant backing vocals. Live sampling into all sample capable devices means any musician can use samples in a new and playful manner, discovering the lost art of creative sampling. The Expanded Factory Sound Bank, doubling in size, plus added signature sound designers’ patches, inspire new arrangements and compositions. Multi core optimization, an on-screen keyboard and tempo scaling of clips top the list of additional improvements.

The upgrades further solidify the Record Reason Duo as the mainstay tool for musical creation.

“I don’t put too many demands on (studio) engineers… except for them to have Reason on their system,” says Printz Board, Musical Director of the Black Eyed Peas. “That is one of the only demands.”

Introducing Kong Drum Designer (Reason). Load, sculpt, build and tweak your sounds with your choice of drum synthesis, sampling, REX loops, physical modeling and custom-made effect modules for percussion on Kong’s 16 pads.

New Neptune Pitch Adjuster and Voice Synth Device (Record). Super flexible high-quality processor to correct and shift pitches, create backing harmonies, formant shift or take your vocals into outer space.

Block based pattern sequencing mode makes song creation fast and flexible (Both). Go from pattern-based arrangements to linear—to patterns again. Take your music beyond the eight bar loop.

astly expanded Factory Sound Bank with Signature patches (Reason). Reason’s sound bank more than doubles in size, thanks in large part to signature contributors: Printz Board, Bomb Squad, Jason McGerr, Sharooz, Adam Beyer, Keith LeBlanc, Cari Lekebusch & others.

Live sampling is back! In the rack! (Reason). Re-explore the lost art (and fun) of sampling. Every sample player becomes a sampler; record with a single click — further tweak with the built-in editor.

A number of other additions that guarantee to make your music making more fun: Multi-core optimization, on-screen keyboard and scaling audio and MIDI clips, interface enhancements and many more too numerous to name.

All full versions and upgrades are available worldwide through authorized Propellerhead dealers and Propellerhead’s online store.

• Record for Reason Owners Sidegrade (includes Reason 5 upgrade): €149 / $169
• Reason 5 Upgrade from any version: €99 / $129
• Record 1.5 Upgrade from any version: free download!
• Record Reason Duo bundle : €405 / $449
• Reason: €305 / $349
• Record: €279 / $299

Designer’s Notes
“The original concept for the GSR-24 was for a larger version of the ZED-R16 with similar routing philosophy, high quality pre-amps and EQ. Interaction with recording musicians and engineers has resulted in many new features being added – a full width meterbridge for example, optional interface cards and more flexibility in workflow setup. The GSR-24 is the culmination of many things – exceptional analogue design, super-flexible usability, control and integration with digital workstations – and with an easily removed interface card it can be future-proofed against fast-moving technology, helping it to gain the status of a true modern classic.”: Mike Griffin :: Designer :: Allen & Heath

Features:

• 24 mic/line input pre-amps
• 24 channels of 4 band EQ with fully parametric mids
• Choice of analogue or Firewire / ADAT interface modules
• 2 dual stereo inputs with EQ
• 2 additional valve inputs
• 6 auxes
• 4 subgroups
• Main Stereo + Mono bus
• PFL, AFL + Solo in Place
• MIDI control
• 5.1 surround monitoring
• Integral meterbridge
• Separate linear power supply

Ask five engineers how they approach recording acoustic guitar, and you may very well get five different answers, if you get any at all, that is. While many factors influence an engineer’s choice of recording techniques — the character of the instrument, the style of music, the player’s personal tonal and dynamic signature, and the recording environment — some engineers prefer to keep their approaches a trade secret. But despite all the possible permutations of instrument, style, player, room, and ego, for most seasoned engineers the real secret to recording an acoustic guitar is stereo miking — plain and simple.

Sure, if it’s just “spaciousness” you’re after, you could record an acoustic guitar in mono and fold in some enthusiastic stereo processing. Or if you’re hankering for a dramatically textured sound, you could try combining a microphone with an acoustic guitar pickup. If depth and accuracy are what matter most, however, you’ll find that stereo recording with two microphones is an exceptionally reliable way to record full-bodied, realistic-sounding acoustic guitar tracks.

Let’s take a look at three of the most popular techniques, and also examine the questions of microphone choice and mono-compatibility. As you’ll find, stereo recording can be a complex art, since the interaction between the two mics will determine many aspects of the sound — including tone, image, and mono-compatibility. But like any art, you’ll also find that practice makes perfect. So whip out those mics, pull out that guitar, and give these tips a try: You’ll hear the difference.

Three Surefire Techniques

In most cases, you’ll want to use a pair of cardioid (unidirectional) mics placed close to the instrument. Close-miking — approximately six to 12 inches from the guitar — is used in most pop and other contemporary recordings that feature acoustic guitar.

Cardioid mics are generally best used for close-miking guitar because they exhibit less bass proximity effect (or bass boost) than other directional types when placed close to the sound source. And we all know that acoustic guitars can sound boomy if miked incorrectly.

Let’s explore three common approaches to stereo miking and acoustic guitar. Each of these techniques has been used on countless hit records. Be sure to check out the corresponding audio links, and of course, consider these as starting points for your own creativity. After you’ve mastered each one, feel free to experiment with your own variations on each method.

Two mics are placed apart from each other at the same approximate height, one pointing at the 12th fret of the guitar and the other at the bridge.

With this approach — as with any miking technique that uses two or more mics that are spaced apart from one another — always be sure to follow the “3-to-1 rule.” According to this rule, the distance between two mics should be at least three times the distance between each mic and the sound source. This keeps phase cancellations to a minimum, resulting in a smoother sound that also translates well to mono. So, for instance, if you’ve got each mic seven inches from the guitar, the 3-to-1 rule mandates that you spread the two mics at least 21 inches apart from each other. (One of a few exceptions to the 3-to-1 rule is with the X-Y technique, as described below.)

Our second technique is a variation on the spaced pair. As in the setup above, one mic points to the 12th fret. The second mic, however, is hung from a mic stand at the performer’s ear level, pointing down at either the bridge or at the strings just behind the soundhole. For example, if the performer is right-handed, this second mic would be placed over her right shoulder. (Once again, be sure to follow the 3-to-1 rule.)

You can also move this ear-level mic slightly out in front of the performer and angle it back towards the guitar (versus pointing straight down at the floor), for a brighter sound. This technique usually yields a more open — but thinner — sound than the simple spaced pair on a horizontal plane. Check out the links to hear the difference.

If you’re not getting the sound you want with a spaced pair placement, try moving one or both microphones slightly to improve the timbre. Because spaced pair placement is subject to phase interference, moving one mic only an inch or two can dramatically change the sound. To learn more about how phase affects the timbre of stereo guitar tracks, go to the mono-compatibility link below.

X-Y, or coincident-pair, is the no-brainer approach to stereo miking. If you follow these steps precisely, and are willing to move the mics around a bit to find the sweet spot, you’ll find it’s hard to make a bad recording. (That’s assuming, of course, that your room, your mics, and the instrument — and, while we’re making a checklist, the guitarist — are half-way decent.)

Place the two mics close together so that their capsules are almost touching. The rear ends of each mic are spread apart at an angle of a roughly 90 to 120 degrees. The result looks like a wide V shape, with one mic’s capsule positioned directly above the other.

(The 3-to-1 rule doesn’t apply to the X-Y technique because the two capsules are so close that sound waves arrive at both at essentially the same time, minimizing objectionable phase cancellations.)

To start, try placing the two mics opposite the 12th fret of the guitar. If you have a really nice sounding room to record in, try backing the mics up to a distance of one to two feet from the guitar. This will capture more room tone and yield a more natural sound. While the best-sounding position can depend upon the guitar, the room, or the mics, typically, placing the mics around seven inches in front of the guitar’s 12th fret will tend to de-emphasize midrange frequencies. That’s because one mic will be pointing in the direction of the bassy soundhole, and the other towards the top of the neck, an area rich in high frequencies.

As you experiment, you’ll find that the X-Y miking produces a much narrower stereo image than the spaced-pair techniques. But you’ll also hear how X-Y lends a smoother, warmer, and more natural sound to acoustic guitar.

Choosing the Right Mics

By definition, stereo miking requires a pair of microphones. Certain types of recording situations — such as chamber orchestra, or an acoustic jazz trio — demand extreme accuracy, and in these cases, it’s highly desirable to have a matched pair of microphones. This means more than just two of the same model; it also calls for two mics that have been factory-certified to produce virtually identical frequency response. (Some, though not all, manufacturers sell matched-pair mics.)

Fortunately — unless you’re, say, capturing an audiophile-quality classical guitar recording — you won’t need a matched pair to record acoustic guitar tracks. In fact, you might not even need to use two of the same model of microphone (though if you do you’ll get a more consistent timbre in each channel than if you had used two totally different mics). That said, rules are meant to be broken, so feel free to experiment by mixing and matching mic models. And like any musical instrument, every mic has its own sonic character, so try to get your hands on as many different models as possible and experiment.

Generally speaking, condenser mics are the right choice for acoustic guitar. As a group, they offer a far more detailed and realistic sound than dynamic mics. But before you choose a specific condenser, first decide what kind of sound you want. Small-diaphragm condensers (those with a diaphragm smaller than one-inch in diameter) generally offer a better transient response than their large-diaphragm cousins, producing a less colored, more detailed sound. For pop and country productions where guitar tracks will be tucked into dense arrangements with drums and bass guitar, small-diaphragm mics are often the best choice.

Many engineers consider the AKG C480B ($987 with the CK61-ULS capsule), Neumann KM184 ($729) and DPA 4011 ($2,190) to be among the best small-diaphragm condensers on the planet. (All list prices are in US$.) All three sport cardioid (unidirectional) patterns — meaning they tend to reject any sound that isn’t directly in front of them — and sound awesome on acoustic guitar. (Cardioid response is also required for most stereo miking techniques, in order for the resulting recording to have a “left-to-right” soundstage.) AKG’s C480B is a modular mic, meaning that you can interchange various capsules — each offering a different polar pattern — with the mic body that holds the internal preamp. This mic features a 70Hz high-pass (low-cut) filter, useful for rolling off unneeded low frequencies when recording acoustic guitar.

The Neumann KM184 exhibits an inherent low frequency roll-off at 200Hz, delivering guitar sounds free of low-end “boominess.” DPA’s 4011 mic — known prior to 1998 as the Brüel & Kjær (B&K) 4011 mic — features a 1dB roll-off in the midrange frequencies along with a 1dB rise between 10 and 15kHz. The result is a crisp, though not overly bright sound. This 4011 has treasured place in many mic lockers (including my own). Check out these links to hear the DPA 4011 on a Guild M20 acoustic guitar, with various mic placements.

There are plenty of other small-diaphragm, cardioid condensers on the market, many of which offer decent performance for a lot less scratch. Some better-known alternatives that other enginneers report good results with include Shure’s SM81 ($530), AKG’s C1000S ($297), and Audio-Technica’s AT3528 ($259).

Large-diaphragm mics — those featuring diaphragms at least one inch in diameter — can also provide outstanding results when recording acoustic guitar. All other things being equal, these mics tend to offer a slower transient response than their small-diaphragm counterparts. This causes a slight de-emphasis in high-frequency detail and tends to give them a rounder, warmer sound — just the ticket for traditional jazz recordings and lean guitar/vocal arrangements. (It’s this warmth that makes large-diaphragm mics so popular with vocals.) The Lawson L47MP Tube Condenser ($1,995) sounds great on acoustic guitar for these applications. I’ve also used the Manley Reference Gold Tube Condenser ($5,500) with excellent results. On a budget but craving that large-diaphragm condenser sound? Some candidates that I didn’t have the chance to work with would include AKG’s C414B/ULS ($1048), Neumann’s TLM103 ($995), the Alesis AM51 ($549), and the AKG C3000B ($478).

And what about a dedicated stereo microphone? These mics — such as Shure’s VP88 ($1194) and Audio-Technica’s AT825 ($525) — typically have a pair of cardioid capsules mounted in one housing. While they may be useful in certain applications, they’re actually less flexible than a pair of independent mics — since their diaphragms are physically fixed relative to one another. In other words, if you want to try some of that mic-above-the-bridge, mic-above-the-fingerboard stuff, or any other interesting variations, you’ll want a pair of mono mics.

Mono-Compatibility, EQ & Compression

Stereo-Miked Acoustic Guitar Tracks and Mono-Compatibility

When stereo tracks are collapsed to mono, the result can sound dramatically different from the original tracks. This is not only true of the listener’s perception of the width of the stereo image and the discrete placement of different elements in a mix: Conversion to mono can also significantly change the timbre of individual instruments, especially if certain stereo miking techniques were used to record the original. (In rare cases, the instrument could even disappear from a mix, should the left and right signals be far enough out-of-phase to cancel each other out when combined to mono.)

True, in the last couple of decades — with AM radio’s diminishing role as a music medium — mono-compatibility has become less of an issue. And in fact, some engineers prefer not to compromise their stereo tracks or limit their recording techniques to cater to the lowest common denominator. Still, many engineers choose to play it safe — ensuring that their miking (or other processing) techniques won’t sound terrible if played back in mono. However you feel about this issue, you’ll be able to make more informed choices on how to record if you know what the sonic repercussions will be for mono playback. So what exactly happens to stereo acoustic guitar tracks when they are collapsed to mono? The answer depends on what miking technique you use to record.

Spaced pair techniques generally pick up a high degree of uncorrelated signal for each track. That is, many frequency components on the left-panned track are more or less out-of-phase with corresponding frequencies on the right-panned track. (This still applies even if you use the 3-to-1 rule for mic placement.)

This is because each of the sound waves emanating from the guitar will arrive at each mic at a different time. Due to that time difference the mic will pick up the wave at a different phase of its cycle. When the stereo signal is collapsed to mono, the constructive and destructive interference of these out-of-phase components combine to emphasize and de-emphasize their corresponding frequencies. The resulting timbre can be markedly different from your carefully crafted stereo tracks and can play havoc with your mix. You might be able to compensate with EQ, but this might exacerbate the problem.

Tracks recorded with an X-Y technique are far less prone to phase problems. Since the capsules are placed so close together, the sound reaches both mics at roughly the same time. As a result, tracks recorded in X-Y stereo are much more mono-compatible than those recorded with a spaced pair.

A Word on EQ and Compression

Aside from the occasional use of a microphone’s passive high-pass (bass roll-off) filter, I prefer not to add equalization to the signal I’m recording. You can never tell in advance exactly how yet-to-be-recorded tracks will interact with the guitar you’re recording, so any processing you add during recording is just a guessing game. Since you’ll probably need to make subsequent adjustments in timbre (and possibly dynamics) at mixdown, you should avoid processing the signal twice. Your tracks will sound more pristine if you hold off adding processing until you have a complete picture of how the tracks will fit together. Instead, if you’re not getting the sound you want during soundcheck, move the mics around until the timbre sounds right.

If you want to experiment with EQ as you’re tracking, you can record the music dry and add EQ on the monitor returns. This way, you can hear the results of the EQ without committing to it.

Though many engineers will compress an acoustic guitar during tracking, I usually don’t like to do so. As with other broadband, percussive instruments, guitar can easily cause a compressor to pump (cause audible changes in level) if it’s not set up exactly right. Once these amplitude modulation artifacts are on tape, they are all but impossible to remove. For this reason, I compress acoustic guitar tracks at mixdown — when I have multiple opportunities to get it right.

Specifically aimed at busy project studios, the GS-R24 is a high quality analogue console for the key mixer functions of preamp and EQ, combined with a choice of interface modules, motorised faders for automated mixing and MIDI controllers for tactile interfacing with software DAWs. The first interface module available is a 32-channel Firewire interface with ADAT optical connectivity.

Allen & Heath will also be displaying the latest developments in the iLive digital mixer family, including new I/O hardware, and audio networking plug-in cards for Dante and RockNet.