Best Mic Placement for Acoustic Guitar

Acoustic guitar recording requires careful microphone positioning to capture the instrument’s full frequency range and natural resonance. Unlike electric guitar amplifiers that project sound from a single source, acoustic guitars radiate sound from multiple points, making placement decisions particularly impactful.

Understanding Acoustic Guitar Sound Radiation

Sound emanates from several areas of an acoustic guitar simultaneously. The soundhole projects the most bass-heavy, boomy frequencies. The lower bout near the bridge produces fundamental tones and low-mid warmth. The upper bout and neck joint area contribute brightness and string definition. The body itself resonates across its entire surface, adding harmonic complexity.

This multi-source radiation means no single microphone position captures the complete picture. Recording decisions involve choosing which tonal characteristics to emphasize based on the musical context and desired outcome.

The 12th Fret Sweet Spot

Positioning a microphone at the 12th fret, approximately eight to twelve inches away, remains the most common starting point for acoustic guitar recording. This location captures a balanced blend of string articulation and body resonance without excessive boominess from the soundhole.

Small-diaphragm condensers like the Neumann KM184 or Rode NT5 excel in this position, offering detailed transient response and extended high-frequency capture. Large-diaphragm condensers work equally well for warmer tones, with models like the AKG C414 providing tonal flexibility through pattern selection.

Distance from the guitar affects the balance between direct sound and room ambience. Closer placement yields more intimate, detailed recordings with less room interaction. Moving the microphone further back incorporates more natural reverb and creates a more distant perspective.

Soundhole and Bridge Positions

Pointing a microphone directly at the soundhole produces bass-heavy recordings that often require significant equalization. However, positioning slightly off-center from the soundhole toward the bridge captures body warmth while reducing problematic low-frequency buildup.

The bridge area offers another valuable position, particularly for strumming-focused recordings. A microphone aimed at the saddle from six to eight inches away captures pick attack and rhythmic definition. This position suits percussive playing styles and helps acoustic guitars cut through dense mixes.

Stereo Recording Techniques

Two-microphone setups create width and dimension in acoustic guitar recordings. An XY configuration places two matched small-diaphragm condensers with capsules nearly touching, angled between 90 and 120 degrees apart. One microphone typically aims toward the 12th fret while the other points toward the lower bout.

Spaced pair techniques position microphones several inches to several feet apart, creating a wider stereo image. One common approach places one microphone at the 12th fret and another near the bridge, blending the results for tonal control.

ORTF spacing, with microphones 17 centimeters apart and angled 110 degrees, provides a natural stereo image that translates well across playback systems. This technique requires matched microphones for accurate imaging.

Room and Player Considerations

Room acoustics significantly impact acoustic guitar recordings. Reflective spaces add natural ambience but may introduce problematic reflections. Absorptive treatment behind the player and at first reflection points creates a more controlled recording environment.

Player movement during performance can cause significant tonal shifts. Establishing a consistent playing position and marking floor positions helps maintain sonic consistency across takes. Communication with the performer about staying relatively stationary improves recording quality.

Guitar condition affects recording outcomes substantially. Fresh strings provide brightness and clarity, though some players prefer the mellower tone of broken-in strings. Ensuring proper intonation and eliminating fret buzz before recording sessions prevents issues during tracking.