Acoustic Guitar Mic Placement Techniques

Microphone placement determines acoustic guitar recording quality more than any other factor. Small position changes create significant tonal differences. Understanding placement principles and specific techniques enables capturing optimal acoustic guitar tone for any application.

Understanding Acoustic Guitar Sound Projection

Different parts of the guitar project different frequencies. The soundhole emits powerful low frequencies. The bridge area projects attack and definition. The neck region emphasizes string clarity and harmonics.

Sound develops with distance from the instrument. Very close positions capture localized sound. Greater distance allows the complete instrument sound to develop. The appropriate distance depends on desired character.

The guitar’s construction affects sound projection patterns. Dreadnought guitars project powerfully with strong bass. Smaller body styles offer more balanced, focused projection. Understanding the specific instrument guides placement decisions.

The 12th Fret Position

The 12th fret placement represents the most common starting point. Positioning a microphone 6-12 inches from where the neck meets the body captures balanced tone. This position avoids soundhole boominess while maintaining body warmth.

Adjustment from this position shapes character. Moving toward the soundhole adds bass and body. Moving toward the headstock emphasizes string clarity. Small movements make audible differences.

The 12th fret represents the octave point of the strings. The harmonic content at this position provides natural balance. This acoustic phenomenon contributes to the position’s effectiveness.

Soundhole Positioning

The soundhole projects bass frequencies prominently. Positioning directly in front captures maximum low end. This placement suits guitars lacking bass or when substantial warmth is desired.

Proximity to the soundhole increases potential problems. Bass can become overwhelming. The sound may lack clarity and definition. This position requires careful evaluation.

Off-axis soundhole placement reduces bass buildup. Angling the microphone away while remaining near the soundhole provides warmth with better control. This compromise captures body without mud.

Bridge and Lower Bout Positioning

The bridge area projects pick attack and transient information. Positioning near the bridge captures definition and clarity. This placement suits percussive playing styles.

Lower bout positioning captures body resonance. The wood’s vibration translates clearly from this region. The tone is warm but potentially lacking string definition.

Combining bridge area capture with neck position creates balance. Using two microphones—one for definition, one for warmth—provides mixing flexibility. Phase alignment between positions requires attention.

Distance Considerations

Close miking at 4-6 inches captures intimate detail. Every nuance of technique becomes audible. This distance suits solo performance where detail matters.

Moderate distance at 8-12 inches provides balanced perspective. The instrument sounds more complete and natural. This range suits most recording applications.

Greater distance at 12-24 inches captures the guitar in the room. Ambient character becomes part of the recording. This approach requires a good-sounding space.

Very distant placement beyond 24 inches emphasizes room over instrument. The acoustic guitar becomes part of the larger sonic environment. This technique serves specific artistic purposes.

Stereo Placement Techniques

XY stereo places two microphones nearly touching at 90-135 degree angle. This coincident technique provides mono compatibility. The stereo width remains moderate but natural.

Spaced pair positions two microphones 12-36 inches apart. One typically points at the 12th fret area; the other at the lower bout or bridge. Wider spacing increases stereo width.

ORTF configuration positions microphones at 110 degrees with 17cm capsule separation. This near-coincident technique balances width and compatibility. The spacing mimics human hearing.

Mid-side stereo enables variable width during mixing. A cardioid faces the guitar while a figure-eight captures sides. Decoding the signals allows width adjustment in post-production.

Vertical and Horizontal Considerations

Microphone height affects captured tone. Higher positions capture more string sound and less body. Lower positions emphasize body resonance and soundhole projection.

Horizontal angle adjusts the direct-to-ambient ratio. Straight-on captures maximum direct sound. Angled placement picks up more room reflection. The balance depends on the recording environment.

The player’s position affects available microphone positions. Sitting versus standing changes optimal placement. The player’s comfort and natural posture should inform positioning decisions.

Multiple Microphone Approaches

Two microphones provide tonal options. Placing microphones at different positions captures contrasting perspectives. Blending during mixing creates the desired balance.

Phase alignment becomes critical with multiple microphones. Different distances from the sound source create timing differences. These timing differences cause phase cancellation when signals combine.

Checking mono compatibility reveals phase problems. Summing signals to mono should not cause significant tonal changes. Adjustment or polarity flip addresses phase issues.

The 3:1 rule minimizes phase problems. The distance between microphones should be at least three times the distance from each microphone to the source. This spacing reduces destructive interference.

Adjusting for Playing Style

Fingerpicking benefits from detail emphasis. Positioning closer to the strings captures the subtle dynamics. The neck region provides appropriate clarity.

Strumming requires accommodating dynamics and projection. Slightly farther placement handles the energy. Body resonance emphasis suits the full sound of strumming.

Percussive playing needs attack capture. Bridge area positioning captures the slaps and pops. Transient response from the microphone matters for this style.

Solo performance may need different positioning than accompaniment. Solo guitar benefits from complete, detailed capture. Accompaniment guitar may need simpler, less prominent treatment.