Recording - July 2016 - 25

switches. Being a large-diaphragm mic, it's able to capture a sonic picture that's full of character, which is
ideal for acoustic guitar.
I've heard many engineers recommend against placing a mike directly in front of the guitar's soundhole,
unless you want a very boomy sound. This is true, up to
a point, with the AT4050. However, I actually really like
the sound I obtained with that placement on the HD-28.
The boominess was there, but it was a nice, full sound. If
anything, the lowcut switch gave the impression of
adding more mids to the overall sound. I like some bottom end, especially if I'm recording a simple vocal/guitar singer-songwriter type of artist. This is reduced considerably if you activate the lowcut switch.
All that being said, the very best results I obtained
were, in fact, when I angled the mic away from the
soundhole a bit, directing it toward the bridge or toward
different locations on the fretboard. I also experimented
with the AT4050 using the figure-8 polar pattern. This is
a really cool sound, capturing the guitar in a very clear
way, but adding more ambience, of course, since the
back of the mic is capturing the room reflections.
ATM450
This Audio-Technica mic is one of the best low-cost
mics I've ever used. It is especially outstanding on
acoustic guitar. It captures all the nuances of the instrument, and is particularly well-suited for classical guitar.
It does sound great for capturing the steel-string axes as
well, but for my C1-R it's simply exceptional.
I especially liked the sound I obtained while playing
melodies. The articulation, attack, decay, and timbre were
all reproduced faithfully, without additional coloring.

It works just as well while playing fingerpicked chord
sequences and Spanish-style strummed parts.
Royer R-122
This is an active ribbon mic that requires 48V phantom power. It sounds great on electric guitars (see my
July 2015 article) and, not surprisingly, on acoustics as
well. My favorite combination, when recording in
stereo, is combining the R-122 and the AT4050. I
placed the AT4050 pointing towards the fretboard and
the Royer in the exact opposite direction, directed at
the bridge. This gives a nice and wide stereo image,
avoiding any phase-cancellation issues and combining
two very different mics to create a nice, balanced and
full sound.



http://www.earthworksaudio.com/chrismitchell

Table of Contents for the Digital Edition of Recording - July 2016

Contents
Recording - July 2016 - Intro
Recording - July 2016 - Cover1
Recording - July 2016 - Cover2
Recording - July 2016 - 1
Recording - July 2016 - 2
Recording - July 2016 - 3
Recording - July 2016 - 4
Recording - July 2016 - 5
Recording - July 2016 - Contents
Recording - July 2016 - 7
Recording - July 2016 - 8
Recording - July 2016 - 9
Recording - July 2016 - 10
Recording - July 2016 - 11
Recording - July 2016 - 12
Recording - July 2016 - 13
Recording - July 2016 - 14
Recording - July 2016 - 15
Recording - July 2016 - 16
Recording - July 2016 - 17
Recording - July 2016 - 18
Recording - July 2016 - 19
Recording - July 2016 - 20
Recording - July 2016 - 21
Recording - July 2016 - 22
Recording - July 2016 - 23
Recording - July 2016 - 24
Recording - July 2016 - 25
Recording - July 2016 - 26
Recording - July 2016 - 27
Recording - July 2016 - 28
Recording - July 2016 - 29
Recording - July 2016 - 30
Recording - July 2016 - 31
Recording - July 2016 - 32
Recording - July 2016 - 33
Recording - July 2016 - 34
Recording - July 2016 - 35
Recording - July 2016 - 36
Recording - July 2016 - 37
Recording - July 2016 - 38
Recording - July 2016 - 39
Recording - July 2016 - 40
Recording - July 2016 - 41
Recording - July 2016 - 42
Recording - July 2016 - 43
Recording - July 2016 - 44
Recording - July 2016 - 45
Recording - July 2016 - 46
Recording - July 2016 - 47
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Recording - July 2016 - 49
Recording - July 2016 - 50
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Recording - July 2016 - 72
Recording - July 2016 - Cover3
Recording - July 2016 - Cover4
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