Dynamic vs condensor mics for classical guitar

[TBman]

Originally Posted by rick-slo

Man, that would be tedious and probably detectable to the listener. Can't remember ever a time I tried to remove a squeak post recording. .......

Too many makes it a PITA. Learning to play properly is better

[j3ffr0]

Technique improvements are the #1 way to minimize finger squeak. However, in addition to technique improvements to minimize finger squeak, there are a few recording techniques that can help a bit.

-Set the microphones a little further away if you are close. I rarely go inside 12" or further away than 18"
-You might prefer an LDC or two over SDCs SDCs are more sensitive to the transients. Many condensers have a resonance around 8k or so where a lot of finger squeak occurs and they will over represent it. An LDC can be a little better, because it takes more to get the the diaphragm moving.
-I would probably skip the moving coil dynamics, but ribbons can sound really nice. Be prepared to boost the higher frequencies.
-You can use a de-esser on finger squeek, but that's a last resort that's pretty unsatisfying IMO.
-It is true that they can often be edited out satisfactorily with a bit of effort. Much better result than a de-esser when the best take happens to have a squeek in it.

[Doug Young]

Originally Posted by j3ffr0

T
-You can use a de-esser on finger squeek, but that's a last resort that's pretty unsatisfying IMO.

The RX Guitar Noise plugin is a similar option, sort of like a De-esser, but optimized for guitar squeaks and clicks, and presumably leveraging RX's algorithms. I find it hit-or-miss, depending on the squeaks. It's pretty good at removing the little occasional squeaks that are almost always there, not sure how it would do at the bigger noises on Barry's track. It can leave artifacts behind if set too agressively. I tend to use it on the reverb send, where the artifacts get lost in the reverb. The idea being that squeaks or one thing, it's another to have them zinging around in the reverb calling extra attention to themselves.

[TBman]

Thanks everyone.

I ordered a pair of SM57 mics to see how they do. I have my large condensers set back about 2 feet from the guitar, at the outside of my shoulders a bit and at about the top of my head (while seated). I have a large music stand so that's part of the explanation of their location. I may try moving them in a bit at some point. My latest recording in show and tell is with that configuration.

[Rudy4]

Originally Posted by TBman

Thanks everyone.

I ordered a pair of SM57 mics to see how they do. I have my large condensers set back about 2 feet from the guitar, at the outside of my shoulders a bit and at about the top of my head (while seated). I have a large music stand so that's part of the explanation of their location. I may try moving them in a bit at some point. My latest recording in show and tell is with that configuration.

You run smack dab into that "How you gonna keep 'em down on the farm..." syndrome after you use condenser mics. Going back to garden variety dynamics like 57s just seem dull and lackluster to my ears. I'll be interested when you post your thoughts here after trying them out.

The problem with the whole recording process is keeping all that beautiful tone without also highlighting all the bad stuff like room noise and finger squeaks.

A good way to address the finger squeaks is a combination of improving technique (as previously suggested) and trying a few other string choices. That can make a huge difference in how much squeak is created. You might think about posting in another section of the forum to ask about string choices to minimize finger squeaks.

A good skin conditioner can make a lot of difference, too. It won't make a significant impact on basic tone while you're recording. You might need to change strings more often, but that's a small price to pay to improve your recordings.

[KevWind]

Originally Posted by TBman

Thanks everyone.

I ordered a pair of SM57 mics to see how they do. I have my large condensers set back about 2 feet from the guitar, at the outside of my shoulders a bit and at about the top of my head (while seated). I have a large music stand so that's part of the explanation of their location. I may try moving them in a bit at some point. My latest recording in show and tell is with that configuration.

Nothing wrong with getting some 57's per se . (not sure I would have done that considering for only solo acoustic guitar)

But as has been mentioned as far as switching from condensers to 57's (but phrased another way) switching from a Porsche to a Kia will do very little to correct distracted driving , except maybe not happening quite as fast

Now as mixing fixes for acoustic guitar squeaks/noises (because there is still sustain between notes) I would not "cut out" squeaks or other noises . If excessive, I would use a narrow Q EQ boost search to identify it and then an automated 3-7 db cut for just the length of the squeak/noise transient at the most prominent frequency of the squeak or noise

[steverok]

I have watched tons of videos on how to record acoustic guitar, and I find myself usually just doing it my own way. Even within a song, for example, if I go from a quiet flat-picking part to a loud strumming part, I have changed mic positions or even which mic's I am using.

I think your recording sounds great and I would stick with those LDCs. Not sure how you set them up in stereo, but one technique I have developed is to use two SDCs in an X-Y config, with a dynamic or ribbon mic in the center. You get all the detail of the SDCs from two different points, plus the warmth of the ribbon in the center of the image. For quiet parts, I like to get close and aim the center mic underneath the sound-hole. I get really sweet highs and alot of warmth in that position.

It's so fun to explore what can be done with different microphones, and if necessary, go outside the norm.