#1
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micing vs plugging in
I just got my first amp - loudbox mini - and it's great. I'm finding out (at least for me) there's some difference playing with an amp as opposed to without.
I can be more subtle in my attack and actually have to dial it back some. This new direction has me wondering how does playing into a mic vs direct plug in compare? I would guess you might get a more true sound from the guitar but that's just a guess. What are the pros and cons and is it worth it? Could I mic right into the amp? What type / price range of mic makes sense. This could be one of those rabbit holes I've read about.
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Dan |
#2
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If there is an audience and they're just there, despite your presence, well then just plug in and do battle. You can vary your dynamics plugged in directly, and certain systems are better than others at conveying your intended subtleties, attacks, etc, but nothing beats a mic and an audience that paid to hear what you've got to say. Then you can use a mic to its best extent. The depth of the rabbit hole depends on way too many things, and if you're asking, then you should probably avoid it. Just get a good Shure SM58 and get used to working on either source. The cheshire cat's smile is very seductive........ HE |
#3
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+1 for the mic - putting a pickup in a guitar turns it into an electric guitar. JMHO
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2022 Brook Lyn Custom, 2014 Martin 000-18, 2022 Ibanez GB10, several homebrew Teles, Evans RE200 amp, Quilter 101R and various speaker cabinets, Very understanding wife of 48 years |
#4
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Buy a ToneDexter. Mic your guitar once then plug in ever after and sound like you mic'd your guitar...
Phil
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Solo Fingerstyle CDs: Two Steps Forward, One Step Back (2021) One Size Does Not Fit All (2018) I play Crosby, Emerald, Larrivée, Lowden, Rainsong & Tacoma guitars. Check out my Guitar Website. See guitar photos & info at my Guitars page. |
#5
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On thing is for sure - its easier to sit still for a couple of minutes to create a ToneDexter WaveMap than it is to sit still in front of a mic for an entire live set. In the case of folks who like to move around a bit while performing, ToneDexter is a no-brainer. |
#6
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I prefer a true acoustic sound.
Give me microphones over gadgets. I use an SM57 on my guitars, mandolin and resonator. No pedalboard, no loopers, no nonsense.... |
#7
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If you’re recording or playing to a well behaved attentive audience, yes the mic is going to give you the best sound and the SM-57 is the way to go. If, however, you are in a situation in which you are not given undivided attention, i.e., a bar or most restaurants, or if you are playing in a band, you need an on-board pick up of some sort. There is more, much more to the use of each, with many variables to consider.
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Some Acoustic Videos |
#8
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I have blue collar gear, Takamine guitars, I prefer to plug in my guitars. Not one person in any of the venues I've played at has ever complained that my acoustic guitar was plugged in.
I've been working on playing Breath by Pink Floyd, I added a modulation pedal to the front end of my pedal board and a mic for my guitar. The mic adds an acoustic blend to the modulation effect, it balances the tones nicely. I played it for the first time in front of an audience this last Thursday and it was well received. For me, plug/unplugged doesn't matter, I do both, and now sometimes at the same time. I will also sometimes use a looper, a pic, a capo, an alt tuning, a vocal pedal. I like tools.
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The Blond The Brunette The Red Head The Old Lady Goldilocks Flipper "Sometimes I play a song I never heard before" Thelonious Monk |
#9
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Sounds like you need to do some experimenting with your guitar in your settings and see what works best for you. Using only a mic is great - unless you are playing acoustic in an aggressive contemporary band, because you will never be heard. Or if you are playing in a noisy venue (think restaurant/bar). For me the decision was do I want my guitar to sound the most natural I can, or do I want my guitar and all the nuances I've worked on the be heard. I play in our church band which probably operates at it's loudest at 90-95db, and I promise if I tried to play in that setting with just a mic, I'd just be stage decoration. By using a dual source pickup rig with pickup and mic (which I've used now for nearly 20 years), and then aiming my acoustic amp back up at me from low and in front about 4 feet, I can operate without having the do the in-ear monitors. This sounds so much better than just a pickup, and I can develop the volume to play in a band setting. On days I don't have my amp along, then I go over-the-head cans (headphones) so I can turn my acoustic up from my direct feed from the preamp to the board and I stay more relaxed as I play and just trust the techs to keep me up in the mix. I often use a feedback buster (big black rubber plug) to keep it from feeding back, and it sounds great in the mix. Sounds like you still need to do some experimenting with your guitar in your settings and see what works best for you…not what works best for us. |
#10
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If, on the other hand, you are miking at a distance which eliminates the proximity effect, the SM57's response at 82.41 Hz will be about 6db less than its response at 200Hz. (200Hz is close to the fundamental frequency of the open third string 'G'). That's still not anywhere close to "true acoustic sound". http://blog.shure.com/how-to-read-a-...esponse-chart/ If your end goal is "true acoustic sound", a Shure SM81 mic will get you much closer to it with a standard tuned guitar. https://www.shure.com.cn/dmsfiles/de...sm81_specsheet |
#11
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...as others have indicated it’s all about context...the playing environment dictates what works best..a small intimate setting with a listening audience is the perfect scenario for a mic only approach...(although adding a touch of pickup can give your sound a little something extra)....
...and of course loud ensemble situations in noisy environments are the place to go with your pickup....what’s most important is to have a good feel for whatever situation you find yourself in and know how to work your setup to maximum advantage....so practice with all the setups you are likely to perform with...going into new situations without a practiced approach to sound reinforcement is almost always a bummer.... |
#12
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i would prefer to...all my effects and gizmos are used plugged in. And most (not all) places i play are louder than a mic would allow. That being said the places that are quiet enough to use a mic the guitar sounds great. I use a shure sm81. And some clubs i use a mic and the pickup. |
#13
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As others have noted, mic vs pickup is circumstantial. If the setting is old with background noise, wind, talking, etc, plugging in is often a practical solution. If you have a nice quiet listening room environment, mics are great. The more adaptable a musician is, the more likely it is that they’ll get asked to play more gigs.....
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#14
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IMO, the "best" acoustic guitar sound is un-plugged and un-mic'd. Of course, you need a small room with good acoustics and a quiet group of listeners for that, so in a performance situation it's usually not practical.
When you mic a guitar, the position of the mic makes a difference. If you mic at the 12th fret you'll get one sound, at the sound hole another, and at the bridge another. Anytime you use a pickup you get a different sound than you would from a mic or un-amplified. Some pickups will give you a sound closer to your "true" acoustic sound (see above) than others. For me, the closest I've been able to come to a consistent, "true" amplified sound from my HD-28V when performing on stage is with bridge-plate pickup (K&K Pure Mini) and a ToneDexter. It's not perfect, but it is better than the pickup alone and is not dependent on a sound tech's idea of where a guitar mic should be placed or what kind of mic is being used.
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Patrick 2012 Martin HD-28V 1984 Martin Shenandoah D-2832 2018 Gretsch G5420TG Oscar Schmidt Autoharp, unknown vintage ToneDexter Bugera V22 Infinium |
#15
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+ 1 to the point that context means a lot. If you just play two or three songs sitting down in a quiet room, the a microphone is pretty functional. But if you play a two hour set and you are standing up and changing guitars, then the Tonedexter is your best friend, IMHO. If you can play comfortably and ably for a full set with a microphone (and of course many do) well, God bless you for your abilities, but that ain't me. I am a pretty rabid Tondexter fanboy because it solved a number of problems for me. As for the Tonedexter rabbit hole, you have option of changing mikes and changing mike positions and making a million wave maps if you want (if you are a rabbit hole kind of obsessive) or you can make the wave maps you need and go on with your life it is your choice.
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2003 Martin OM-42, K&K's 1932 National Style O, K&K's 1930 National Style 1 tricone Square-neck 1951 Rickenbacker Panda lap steel 2014 Gibson Roy Smeck Stage Deluxe Ltd, Custom Shop, K&K's 1957 Kay K-27 X-braced jumbo, K&K's 1967 Gretsch 6120 Chet Atkins Nashville 2014 Gold Tone WL-250, Whyte Lade banjo 2024 Mahogany Weissenborn, Jack Stepick Ear Trumpet Labs Edwina Tonedexter |