Recording an acoustic guitar at home or in the studio requires the use of a microphone separate from the instrument. This applies equally to a folk guitar like the Taylor GS Mini Mahogany and a classical guitar like the Yamaha C40II.
The harmonic subtlety of an acoustic guitar, however, cannot be captured with just any microphone. A microphone must be chosen that is appropriate for the needs of a guitar recording, and there are several parameters that must be considered in this process. Discover the best microphone for guitar recording in this guide.
There are three types of microphones for guitar recording. These are condenser or static mics, dynamic mics and ribbon mics. These three types of mics differ in the way they convert the mechanical energy of sound into an electrical signal.
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Microphones with dynamic transducers work like loudspeakers, but in the opposite direction. This is because of the components behind the sound reproduction for this type of microphone. These are a magnet, a diaphragm and a voice coil. The coil is attached to the back of the diaphragm.
The voice coil and magnet combine to create a magnetic field. The sound waves hit the diaphragm to make it vibrate. The vibration generated is transmitted to the voice coil. The voice coil then vibrates on the magnet to create an inductive voltage. The applied voltage changes with the vibrations of the diaphragm to define the electrical signal. This phenomenon is also known as electromagnetism.
The dynamic microphone is often used live as a handheld microphone. It is also very popular with guitarists for recording in home studios or recording studios. It must be said that this dynamic microphone is as versatile as the condenser microphone in its uses. Likewise, it is suitable for recording bass drums and other instruments with high acoustic pressure.
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Dynamic microphones are primarily appreciated for their robustness. They can continue to function well even after being dropped several times. This type of microphone is also more weather-resistant than a condenser microphone. It can be used as a studio microphone, but also as an outdoor microphone.
There are also no moving parts in the design of dynamic microphones. This means that they can handle a variety of recordings at high volumes while remaining true to the sound sources. It is also for this particular reason that a dynamic transducer studio mic is the most common choice of mic for guitar recording.
Guitar recording involves placing the microphone in front of the amplifier to which the guitar is connected. The volume generated by this amplifier is quite high. The guitar’s harmonics may be lost if the microphone cannot record at this volume.
Studio Microphone For Recording Guitar
A dynamic microphone is not the first choice for recording a classical guitar like the Yamaha Etude C40 A 4/4. The AKG P5S may be an exception to this rule, however, because of the simplicity it provides for guitar recording. Its technology is conducive to eliminating ambient noise to ensure a clean recording.
The AKG P5S also offers a very wide frequency response from 40 Hz to 20 kHz. This means you can capture all the harmonic subtleties of an acoustic guitar with this mic. This performance comes at a more affordable price than a condenser microphone.
A condenser microphone uses a component called a capacitor to store electrical energy between two plates in an electric field. One of these plates has a positive charge while the other has a negative charge. Creating the initial electric field between the two plates requires a source of electricity. The micro studio condenser gets the electrical current it needs to operate as phantom power.
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Phantom power is a DC voltage of about 48 V that must be supplied to the microphone to make it work. It is traditionally supplied to the microphone by a preamplifier or a mixer. Today, this DC voltage is often obtained with an audio interface or an external sound card.
The light plate at the front of a conventional or electrostatic condenser microphone vibrates when a sound wave hits it. The distance between the two plates changes as a result of these vibrations. This change affects the amount of electrical energy stored between the two plates.
The electrical energy retained increases as the plates move closer together and decreases as they move apart. An overload can occur when this energy is not properly controlled. For this reason, most condenser microphones are equipped with a switchable bass attenuator. In many cases, this function is supplemented by attenuation buffers.
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Condenser microphones can be equipped with small or large capsules. What both types of capsules have in common is their design. They consist of a metal plate with a parallel arrangement to a very thin plastic diaphragm.
A microscopic metal layer covers the surface of the diaphragm. The capsule is also designed to leave a gap for air to pass between the plate and the diaphragm. This mimics the effect of a capacitor when DC bias voltage is applied.
The space left for the air to pass through changes as the sound waves move along the diaphragm. The capacitance changes accordingly to alternate the bias voltage. An integrated preamp receives the signal to increase the output level and adjust the impedance. This preamp can be designed as a valve or transistor model.
Neumann Tlm 102 Large Diaphragm Studio Condenser Microphone With Standmount
Sensitivity is the strong point of condenser microphones. Their frequency response range is more complete than that of dynamic microphones. They are also faster in the transient response. These mics are therefore better at capturing harmonics, but also the lowest bass. It is easy to achieve a natural and realistic sound with such mics.
The concern with condenser mics is that they are quite fragile and can be expensive to repair. The more affordable models also tend to have abnormal high-frequency brilliance. It is also advisable to use a suspension mount with this type of microphone to reduce rumble when recording. This is especially necessary if your recording studio is located in an area close to traffic.
A condenser microphone with a small capsule is the best option if you are aiming for high-fidelity sound reproduction. Large-capsule models have the characteristics of a dynamic instrument in themselves. This means that they can add more of their own sonic characteristics to the recording. They are also warmer in the midrange and fuller in both the low and high frequencies.
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Condenser microphones can use two technologies in particular for impedance conversion for signal output. These are vacuum tubes on the one hand and field effect transistors or FETs on the other. These conversion modules can also act as amplifiers in the operation of active microphones.
A microphone with vacuum tubes like the Telefunken TF-47 needs to be connected to an external power supply to operate. They have more clean noise and produce a very warm sound with typical tube saturation and quality attenuation. The microphone output is always coupled to a transformer. Tube technology, however, increases the fragility of the microphone.
FET microphones operate from phantom power or DC bias voltage. They have less self-noise and produce a fairly cool, but more accurate sound. For this reason, they are often described as high-fidelity or HF microphones. An HF microphone with FET technology may sometimes have a transformer coupled to its output. Nevertheless, it has the advantage of being more robust and durable than a tube microphone.
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The Shure SM81 is a condenser microphone designed specifically for recording acoustic guitar. This includes a classical guitar such as the YAMAHA ETUDE CS40 3/4 or an acoustic guitar like the Harley Benton CLP-15E Java Exotic. The Shure SM81 is as rugged as it is powerful, although its slimline design might suggest otherwise.
It is constructed of durable vinyl-coated steel for optimal performance in various humidity and temperature conditions. The frequency response is very flat, resulting in good reproduction of the sound source. The Shure SM81 also has low self-noise and provides minimal coloration to the audio signal even when going off axis.
The ribbon microphone was the first form of high-quality microphone to be used for music recording. They began to be used in the jazz era and gained popularity in the 1950s and 60s with rock’n’roll. They then became obsolete in the 1970s, but have regained popularity in recent decades.
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Ribbon microphones work very similarly to dynamic microphones. The difference is that the moving coil and the diaphragm are replaced by a very thin, corrugated metal ribbon. The ribbon is suspended in a magnetic field. The ribbon moves according to the sound waves that hit it. An alternating current is generated accordingly according to the principle of electromagnetism.
The ribbon inside the microphone has the advantage that it is light and moves with great freedom. This means that there is no real physical obstacle to the response provided by the microphone. This results in a smooth, natural sound when recording with a ribbon microphone.
It should be noted, however, that ribbon microphones are more delicate than dynamic microphones. They can be damaged by the passage of wind as well as by high volumes. The output level of a ribbon microphone also tends to be very low.
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