If you want to record acoustic guitar, there are a few things you should do and a few things you should avoid. In this post, I’m going to help you get the best acoustic guitar sound possible in 5 simple steps.
If you are just getting started with recording your own music and you’re looking for a list of the essential items you need for your home recording setup, you’ll want to download a free guide I made. You can download the 6 Home Studio Essentials Checklist absolutely free. It’s got my recommendations for someone just getting started in recording.
The first thing you’ll need to do is set up your audio interface. If it’s your first time setting up your audio interface, take a look at the Quick Start Guide I’ve created for you.
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Once you’ve connected your interface to your computer with the included cable, you’ll need to set up your DAW (Digital Audio Workstation). This step is more or less the same in any DAW, whether it be Pro Tools, FL Studio, Logic, or whatever you’re using.
In Reaper, you click “Options” in the toolbar and then click “Preferences”. I want to change the Audio Hardware settings so that both the input and output are set to my interface.
Now, let’s create a track in the DAW. I’ll set the input of this track to be Input 1 on my audio interface.
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Some DAWs allow you to choose between creating a stereo or mono track. Watch closely here, because this is a common mistake…
If I set up the track for stereo, I’ll only be recording to the left side. That’s because there is nothing plugged into input 2, which would feed the right side. In this case, because I’m using one microphone, I’ll create a mono track.
If you’re only hearing sound on one side in a different DAW, check out this post I created to how to fix this problem.
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Be sure that the speakers are turned all the way down and you’re listening through headphones. Otherwise, you’ll get a feedback loop, where the sound from the speakers is captured by the microphone and sent back to the speakers.
Even if you’ve got an acoustic-electric guitar with a built-in pickup, using a microphone in front of the guitar will almost certainly give you a more realistic sound. We’re just not used to hearing acoustic guitars with our ear inside the guitar.
I’ll be using a small diaphragm condenser microphone called the Shure SM81. In my opinion, it’s the most versatile and rugged small diaphragm condenser microphone under $500. And it’s only $350! Here is a video I created about why I believe it’s such a good choice for recording acoustic guitar:
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You should be able to get a good sound with whatever microphone you’ve got access to.You can get a great-sounding recording with a dynamic microphone, too. If you’re a beginner or on a budget, I recommend the Shure SM58 or SM57, which are each about $100.
A good starting point for your microphone is about one foot away from the guitar, pointed toward the spot where the neck meets the body.
As you play the guitar, adjust the input gain knob on your interface until the meter on the screen averages around -18 dBFS.
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Under no circumstances should the level exceed 0 dBFS. This will cause clipping, which sounds terrible. I usually like to see the peaks somewhere around -12 dBFS to ensure I’ve got plenty of headroom before clipping.
Once you’ve got the microphone on the guitar, it’s connected to your interface, and you’re seeing good levels on the input meter, do a test recording. I know… I know… If you’re anything like me, you’re probably excited to start recording your song.
I urge you to be patient and listen back to the test recording critically. Then, make adjustments and record another test until you find the sound you’re looking for.
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Moving the mic closer to the guitar will give you a closer-sounding recording with more bass. Moving the mic further from the guitar will give you a more open and natural sound.
Pointing the microphone directly toward the sound hole will add more bass, but will often sound too boomy in your final mix. Pointing the mic toward the frets will give you a thinner, more detailed sound.
The trick to getting a great recording is to listen and make adjustments from the beginning. Trust me – you’ll be glad that you took the extra time to get the right sound, rather than spending hours trying to fix it with EQ later.
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One of the best ways to improve your mixing skills is with ear training. If you haven’t seen my post on Ear Training for Audio Engineers, make sure to check it out! When I first learned about this ear training method, it instantly changed the way I mix.
Get started right away with this free Ear Training Guide. It will give you the basics you need to get started practicing today, for free.
The way you mix your acoustic guitar will depend entirely on the genre and the role your guitar recording plays in the song. The best method is to listen and experiment, but here are a few starting points for beginners.
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I will usually go ahead and use a high pass filter at around 80 Hz to clean up the low, rumbling frequencies a bit.
If your guitar sounds a bit muddy, you can try using a parametric EQ. Try some subtractive EQ in the low-mids or perhaps a subtle boost with a high-shelf.
I also want to add just a little bit of reverb to the guitar to make it sound more realistic, like it’s being recorded in a nice-sounding room.
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These settings will get you started if you’re a beginner, but I encourage you to do your own experimentation and listening. There is no one-size-fits all when it comes to mixing. There’s only one rule: “If it sounds good, it is good.”
Disclaimer: This page contains affiliate links, which means that if you click them, I will receive a small commission at no cost to you.Now that you’ve put in the leg work to get a good sound before recording, you can use subtle EQ to make guitars sound even better. Great job, treat yourself to a self-indulgent solo.
Start by cutting out any unpleasant elements of the sound. If you're using a microphone that was positioned further back from the amp, there are likely some irritating room resonances. Use the Altitude Technique to find any ugly resonances and cut them away with a narrow cut.
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Trim away some of the low end flab. Everything below 80Hz will be rumble and noise. Apply a high pass filter at 80Hz. Listen to the guitar in the context of the entire mix and try bringing the filter up higher.
Don’t be afraid to go all the way up to 200Hz here if it works in the context of the mix. This will often help get rid of some of the low end muddiness.
Listen to the guitar in the context of the song and think about what elements of the sound work. There might be a particular tonal quality that really compliments the song.
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Perhaps the warmth of the guitar really brings out the clarity of the vocals. You could try a subtle, wide 3dB boost around 200Hz to emphasise this warmth.
The key here is to use your ears. I could give you a list of frequencies to cut or boost; but every guitar is different.
There are some frequency ranges that are often problematic, more on that in a second. But apart from those you must learn to trust your ears. Apply EQ that works with the tone of the guitar and the song.
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Muddiness is a common issue, especially when several guitar tracks are recorded. Most of the instruments in a typical band setup have a lot of energy around 300-500Hz. This quickly builds up and makes your mix sound muddy.
Try a wide cut across this whole frequency range. Then try a more surgical narrow cut at different frequencies. Listen to what works, use your ears.
If you have two guitars playing in a similar range, try cutting one where you boost the other. On one guitar apply a boost at 4kHz and a cut at 500Hz. On the other do the complete opposite.
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Adding a low pass filter at 5kHz will make little difference to the guitar tone in the context of the full mix. The guitar will blend in better with the track, if that’s what you want to achieve.
It’s okay to go into solo mode to find any problematic frequencies and room resonances—as discussed earlier—in order to apply surgical EQ.
After that, though, you should mix the guitar in the context of the entire track. You don’t want the guitar to sound good on it’s own - you want it to sound good in the mix.
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It’s common practice to pan guitars hard left and hard right. Especially for double tracked parts. This is great, but don’t do it as your first move.
card. The guitars won’t clash and step on each others
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