Your go-to mic for acoustic guitar

[popvulture]

Curious as to what y'all use. I've posted this kind of thing on Gearslutz before, only to be left extremely frustrated as always.

Sample post:

"I'm looking for a versatile ______ for somewhere in the neighborhood of $500."

Sample reply:

"You should check out ______ that excels at just one thing for $3500."

Anyway, onto the point: I don't have a mic that's great for acoustic guitar. I know a lot of people go the SDC route—I'd love some suggestions for those, or if you use something else, tell me about it. Bonus points for mics that excel in multiple applications... I try to avoid uni-taskers.

[bronzetalon]

Rode NT1-A is cheap and does a good job in my experience. Also does well on vocals and as room mic for drums.

[popvulture]

Hmm, LDC. I wish I could try one of em out...

My problem is that I've got a go-to LDC that works well on a ton of stuff: a Soundelux U195. It's actually not bad on acoustic, but it has a tendency to capture a little too much boom, and that's even with the mic at the 12th fret, angled towards the sound hole.

Anybody worked with Oktavas? I've thought about the MK012s for years but never bit.

[bronzetalon]

Those oktavas are very good as well I don't think you can go wrong with those.

[jamesmikelly]

SE x1t or Beyerdynamic m160

[GardenoftheDead]

http://www.sweetwater.com/store/detail/M5MP

I prefer to record acoustics with a pair of SDCs. One pointed at the 12th fret, one pointed at the bridge.

Check phase.

[Kacey Y]

I suppose it really depends on what you're trying to get out of an acoustic recording, but my favorite thing I've used is a stereo pair of Oktava MK-012 small diaphragm condensor mics. They're pretty easy to get an inexpensive. Plus, Michael Joly does some really nice upgrade modifications to them, but I find I like them stock for acoustic guitar and drum overheads in most cases.

[MaggotBrainNY]

Hmm, LDC. I wish I could try one of em out...

My problem is that I've got a go-to LDC that works well on a ton of stuff: a Soundelux U195. It's actually not bad on acoustic, but it has a tendency to capture a little too much boom, and that's even with the mic at the 12th fret, angled towards the sound hole.

Anybody worked with Oktavas? I've thought about the MK012s for years but never bit.

Try not angling it towards the sound hole (where all the boom comes from), putting more distance between the mic/instrument (to limit proximity effect), different heights/angles (might look weird, buts sound awesome, so experiment), etc.... I mean, that U195 should get you where you need to go with some messing around.... but if you're really into trying something else, I own a pair of Josephson C42 SDC's that are fantastic on acoustic instruments. You can get a single one for around $400. They are on the bright-ish end of the spectrum, but I find I can tame it (when needed) by adjusting placement. Incredible detail and fidelity, built to withstand falling off a very tall building, super small and easy to carry around.

Another solid option would be a Shure KSM141. They are well featured and sound great.

[popvulture]

Yeah I can definitely get some great sound out of the U195—I guess I'm probably just itching to have one or two SDCs as well. I've just got a couple of mics, so a little more variety would be fun.

[friendship]

What is it about what you've been using and how you've been it so far that hasn't been working for you?

[popvulture]

Sorry I missed that last question. I think the U195 sounds excellent, but it captures a lot of low end. It's excellent backed off of a kick drum, for example. On an acoustic, even if it's placed in such a way that a lot of the boominess is the soundhole is reduced, it's still a little woofy. It's viewed as a good all around mic, but I don't think people use em a ton on acoustics... that's why I was looking at SDCs. I just want something that I don't have to eq the shit out of, would rather be able to capture it a little closer to spot-on.

It's an LDC, but a friend highly recommended a Shure KSM32. He's a longtime musician and engineer, and I really dig the sound of his acoustics, so I'm very much considering picking up one of those, hopefully used. Plus he said they're excellent on all kinds of sources...

[friendship]

The low-cut switch that rolls off your lows well before its 30Hz nadir should be a big help with the issue you're having, so I apologize if this sounds pedantic, but I'd be interested to hear more about your mic location. The proximity effect of a bass boost occurs even if you're well away from the soundhole, so if you're tight-miking at the 12th fret it's possible this is why you're capturing too much bass; I run into this all the time when I want a lot of fingering detail and get my mic right up near the guitar. I can't emphasize mic technique enough: I'm no megapro but in my experience where I'm placing my mic is significantly more important than what type of mic I'm using, especially when it comes to proximity effect. I've gotten boomy, farty sounds out of a 57 and thin, cloying sounds out of an LDC by merit of where I choose to place the mic.

There's a lot of info I don't have about your mic technique and what kind of sound you're going for. If you want a close-up, intimate sound without boominess, I don't know of a more effective way to get it that doesn't involve bold high pass filtering. A mic with an inherently serious bass attenuation might be the answer, but then you've bought a mic that does your EQing for you, and like me you don't care much for single-function tools. The KSM32 your friend recommended definitely has some more severe high passing, if you'd rather get it at the source. Not a bad recommendation if you want to spend money.