Guitars that sound great recorded

[foxo]

Originally Posted by NotALuth

Certainly, in the examples you posted, the OM21 sounds clearer than the F32.

However, there are plenty of recordings of the F32 sounding stellar, and it is generally recognised for its clarity.

Before you return another guitar, I believe it would be worth investing time (and possibly some money) on improving your recording skills (and equipment?). There are so many factors which can affect a sound recording of this type that without knowledge of the recording environment, microphone type, number, placement etc. it is difficult to be of much help.

I would strongly suggest detailing as much of your recording setup as you can and starting a new thread, including the F32 sound clip, in the ‘Record’ sub-forum here asking for help.

With your evident singing and playing skills I think you owe it to yourself to achieve a better representation of what you can achieve (gosh, that sounds patronising, but I can assure you it is meant to be).

Of course, recording aside, if the F32 is not doing it for you then you should return it.

Regards,
Clive.

I’m recording with admittedly fairly entry level gear - two AT2035s (one for guitar, one for vocals) and an old M-Audio M-Track kindly gifted to me by a forum member. I was thinking of upgrading the audio interface to a Scarlett 2i2 but how much difference that will make to sound quality I have no clue.

[NotALuth]

Originally Posted by foxo

I’m recording with admittedly fairly entry level gear - two AT2035s (one for guitar, one for vocals) and an old M-Audio M-Track.

Nothing wrong with that setup, foxo. So, that leaves mic. placement and recording environment (room).

[Mbroady]

I am a Dread guy all the way. But when it comes to recording, for which I am almost finished with my first original project, I’m digging my MJ Franks legacy OM as well as my Stonebridge OM33

They both have a clarity and low end that need little to no EQ in order to support my voice.

[Roccorobb]

I actually think the Lowden sounds great in your recording. That being said, what you described is exactly what I have consistently felt concerning those guitars for a very long time. They are so beautiful, so well made, but for whatever reason I have never been able to fall in love with the sound.

And I also had the experience of waking up to mahogany a couple years ago, after about a decade or more of having only rosewood guitars. I still have my trusty old D28 and a rosewood and engelman concert, but all my other guitars now are mahogany. The one great exception to this rule for me is a Taylor style 700 series, cedar and rosewood. I don't own any guitars like that but every time I play one I am in awe. It's a very specific sound that I don't have much use for most of the time, but it always brings me pleasure.

[foxo]

I went and tried a whole bunch of guitars today and I’m sticking with the Lowden. It really was the best out of everything I played. I’ll work on my recording and see if I can get a better representation of the guitar with better mic placement. Cheers all for advice and feedback.

[jklotz]

Originally Posted by foxo

I went and tried a whole bunch of guitars today and I’m sticking with the Lowden. It really was the best out of everything I played. I’ll work on my recording and see if I can get a better representation of the guitar with better mic placement. Cheers all for advice and feedback.

Maybe have a look at this?

[foxo]

Originally Posted by jklotz

Maybe have a look at this?

Thanks, that is useful.

[PerryE]

There are many ways to record a guitar. One way is if course using one large diaphragm condenser mic like Graham does in https://youtu.be/cZRnrA5GOx0

I also like using a pair of small diaphragm condenser mics in x/y-configuration. After the recording is done there is still lots of work withEQ, compression etc.

Sorry if this is basic info for you but I am amazed how much you can alter the “natural “ sound of the guitar

[ChuckS]

Originally Posted by foxo

I’ve tried various different mic positions.

If it’s the size of the guitar that is the issue would I encounter the same issues with a dreadnought then? Part of what is drawing me towards Gibson J45 as a replacement is that I’ve been told they record well. I also don’t want another 000/OM if I can avoid it.

I feel recording guitars with a complexity/fullness in the bass is more difficult. Not saying it can't be done with great results, but they just seem to present more challenges to get it right. Also, a lot of home recording spaces are not treated and often result in a lot of muddiness in the low end, which sure doesn't help the situation.

Switching to mahogany, and keeping the box size roughly the same, may also make recording less challenging.

Could you provide more details on your mic setup? (i.e. Where is the mic relative to the guitar, is it angled, and where is it pointing? How far away is the mic from the guitar?)

[ChuckS]

Originally Posted by NotALuth

….[snip]….
Before you return another guitar, I believe it would be worth investing time (and possibly some money) on improving your recording skills (and equipment?). There are so many factors which can affect a sound recording of this type that without knowledge of the recording environment, microphone type, number, placement etc. it is difficult to be of much help.

I would strongly suggest detailing as much of your recording setup as you can and starting a new thread, including the F32 sound clip, in the ‘Record’ sub-forum here asking for help.
….[snip]….

Agreed. There is quite a lot of helpful experience in the Record sub-forum, and it can be specific to recording guitars and home recordings.

[foxo]

Originally Posted by ChuckS

Could you provide more details on your mic setup? (i.e. Where is the mic relative to the guitar, is it angled, and where is it pointing? How far away is the mic from the guitar?)

Vocals mic about five - six inches away with a pop filter.

On the Martin recording the mic was two to three inches from the 12th fret angled slightly to the soundhole, with low gain setting

I tried this approach on the Lowden and it sounded terrible, very bassy. I moved it away maybe eight inches facing 12th fret directly for The Sculptor. For the record I don’t think that’s a bad recording, it just isn’t as nice as the Martin one.

For the DADGAD track that was both mics, one aimed at bridge and another at 12th fret, both about six to eight inches away.

The room itself is the centre of my living room, a medium sized room with no acoustic treatment.

[Glennwillow]

If a guitar sounds good to your ears, you ought to be able to get a good recorded sound of this guitar if you use a good microphone or two and place the mic(s) in the right place. Good microphones make a huge difference and they cost way less than the cost of a guitar.

- Glenn

[TBman]

Originally Posted by foxo

Vocals mic about five - six inches away with a pop filter.

On the Martin recording the mic was two to three inches from the 12th fret angled slightly to the soundhole, with low gain setting

I tried this approach on the Lowden and it sounded terrible, very bassy. I moved it away maybe eight inches facing 12th fret directly for The Sculptor. For the record I don’t think that’s a bad recording, it just isn’t as nice as the Martin one.

For the DADGAD track that was both mics, one aimed at bridge and another at 12th fret, both about six to eight inches away.

The room itself is the centre of my living room, a medium sized room with no acoustic treatment.

Try the left mic at the 10th feet, but the mic is slanted down and towards the direction of the sound hole. The right mic at the saddle, also angled down and towards the sound hole. Make sure you are aiming the mic with the center of its field.

[foxo]

Originally Posted by TBman

Try the left mic at the 10th feet, but the mic is slanted down and towards the direction of the sound hole. The right mic at the saddle, also angled down and towards the sound hole. Make sure you are aiming the mic with the center of its field.

Thanks, I will try this if doing instrumental. Only problem is for vocals, I don’t like to record guitar separately so usually I am limited to one mic for guitar. In an ideal world I would have three mics but good 4 xlr input audio interfaces are pretty expensive not to mention a third mic and stand.

[Doug Young]

Originally Posted by foxo

Vocals mic about five - six inches away with a pop filter.

On the Martin recording the mic was two to three inches from the 12th fret angled slightly to the soundhole, with low gain setting

I tried this approach on the Lowden and it sounded terrible, very bassy. I moved it away maybe eight inches facing 12th fret directly for The Sculptor. For the record I don’t think that’s a bad recording, it just isn’t as nice as the Martin one.

For the DADGAD track that was both mics, one aimed at bridge and another at 12th fret, both about six to eight inches away.

The room itself is the centre of my living room, a medium sized room with no acoustic treatment.

I'd say you're micing much too close, and the lack of an acoustically treated room is also contributing. Proximity effect kicks in at 16 inches with most mics. A little is fine - makes the guitar sound bigger, but 2-3 inches is way too much. 10-12 inches is what generally works for me.

I don't think the issue in your recording reflects anything generally about the guitars, it's just a matter of capturing each of them correctly. OMs are often called out as "easy" to record, balanced guitars that just sound good to mics. Lowdens are big, loud guitars, and that can be trickier to record.

But, you say you recorded the Lowden with 2 mics? The track sounds mono to me. Do you have the tracks mixed to mono or panned hard left and right? Mixing spaced pairs to mono with produce a muffled sound pretty much like what I hear in your track.