Recording singer/songwriter

JJV

Does anyone have any good tips in relation to recording a singer playing an acoustic guitar? I have at my disposal 2 x large diaphragm fixed pattern cardioid condenser mics & 2 x small diaphragm condensers - again fixed cardioid. I read somewhere you can get some decent separation using figure of 8s with the nulls pointing in suitable directions, however this is not an option here.

Should I just put a pencil on the guitar & the large diaphragm on the vox?

Thanks

JJ

www.jjvernon.com
www.myspace.com/jjvernon

tweeky

Last time i recorded both at the same time i used a 58 on the vocal and TLM 93 or U 87on gtr facing away from vox, singer sang slightly upward sounded great in a Springsteen/Cash way. Also used 2 TLM 93's (fixed TLM version of U89) and with a bit of a juggle sounded good.

teamdresch

You've got to spend the time to get the two mics placed right for phase and to sound good.
That is PARAMOUNT in this situation.
Do not rush mic placement.

TelePaul

I would second the 'dynamic for vox' approach. But the 3:1 rule should work for you if you close-mic with SDCs, no?

JJV

TelePaul wrote: »

I would second the 'dynamic for vox' approach. But the 3:1 rule should work for you if you close-mic with SDCs, no?

Thanks for the advice gents. I can certainly try a 58 on the vocals. Also, if I use a dynamic on vox & a SDC on guitar do I still have to be mindful of the 3:1 rule?

PaulBrewer

JJV wrote: »

Thanks for the advice gents. I can certainly try a 58 on the vocals. Also, if I use a dynamic on vox & a SDC on guitar do I still have to be mindful of the 3:1 rule?

Ah Head - the 3 to 1 is rule relating to avoiding phase issues, so 'yes' is the answer.

It's not anything I've tested myself, but the idea has been around for a long time.

studiorat

The 3 : 1 would only really be if you were using a pair of microphones on the one source IMO. I'd go for a small mic on the guitar and either a large or a dynamic on vocals. You are going to get spill so you just gotta make sure it's constructive to the sound of both mics.

dav nagle

I am only going to bed now from last night but what I will say is get the dude to record the guitar to a drum beat that he can groove to. Work for an hour until you have a beat using claps and kick that his playing grooves to. Then record the guitar line to the beat. Record the same guitar line over it again and pan each left and right if he has a Jack Johnsen sound. Then take your 58 out and record his vocals. Off to bed to sleep i'll be back online at 8pm let me know JJ how it goes.

JJV

dav nagle wrote: »

I am only going to bed now from last night but what I will say is get the dude to record the guitar to a drum beat that he can groove to. Work for an hour until you have a beat using claps and kick that his playing grooves to. Then record the guitar line to the beat. Record the same guitar line over it again and pan each left and right if he has a Jack Johnsen sound. Then take your 58 out and record his vocals. Off to bed to sleep i'll be back online at 8pm let me know JJ how it goes.

I like your approach Dav. Rather than wrestle with phase & spill issues, you completely circumvent the problem by getting the client's foot tapping to a funky beat so as he completely forgets that you are recording him 1 track at a time! Cunning.

tweeky

studiorat wrote: »

The 3 : 1 would only really be if you were using a pair of microphones on the one source IMO. I'd go for a small mic on the guitar and either a large or a dynamic on vocals. You are going to get spill so you just gotta make sure it's constructive to the sound of both mics.

+1
Sometimes you gotta leave the books behind and capture the moment, the vocal will be so close to the mic that the 3 to 1 will have to be judged by the ears (wear a pair of cans as you set up the mics) as opposed to the measuring tape just align the gtr mic so that the vocal is in its null. Listen to Rick Rubins Johnny Cash recordings there is phase all over the place but seizing the moment is whats important.

PaulBrewer

I agree, which is always my argument for good gear - you don't have to worry about it sounding 'bad' and just focus on the music.

The Engineering head should always be behind the Music head by a distance of about 3 to 1 ......