You want to record your acoustic guitar on PC, but you don’t know exactly how to do it? You are already recording your acoustic guitar (folk or classical), but you would like to know the right methods to improve your recordings?
Well, you’re in luck, as we will cover all these topics in this article — in which I have combined the maximum amount of information regarding acoustic guitar recording.
Because, it’s true: while putting a microphone in front of a guitar is not complicated in itself, positioning it well to obtain quality recordings is not so obvious.
Moreover, it also involves knowing the basics and the necessary equipment to be able to record an acoustic guitar.
In short, here are the different topics we will cover:
- The basics of acoustic guitar recording
- Prepare to record your acoustic guitar
- Which microphone to choose for recording your acoustic guitar?
- Techniques for recording acoustic guitar
- FAQ on acoustic guitar recording
The basics of acoustic guitar recording
The process of recording an acoustic guitar is not necessarily complex — at least not if you are already somewhat familiar with the basic principles and standard home studio equipment.
(By the way, if that’s the case, you can skip straight to part 2.)
But if you are a beginner, or if you are not sure you have mastered all the basics, I recommend reading the following paragraphs, which will help you understand the rest of this article.
The source signal
No matter what recording method is used, it always involves capturing what is called a source signal.
Unlike electric guitar recording, however, the source signal of the acoustic guitar corresponds to the sound of the played strings — which takes the form of a sound wave with intensity variations measured in dB.
Note: for the somewhat specific case of recording an electro-acoustic guitar, I address the topic in the FAQ at the bottom of this article.
And to record this sound wave, you will of course need a capturing device.
In other words, one or more microphones that you will place around your guitar.
So far, nothing too complicated. 🙂
The audio interface, at the heart of the studio
Once your acoustic guitar signal is captured, you will of course want to record it on your PC or Mac.
To do this, you will need an audio interface.
(In case you have any doubts: no, it is not possible or advisable to connect a mic via the mini-jack inputs of your computer).
This audio interface will link, among other things, your microphone and your computer — typically via a USB connection.
It is what will allow you to record sound on your PC.
If you are a beginner, you do not need to invest in very expensive models: the small Audient in the photo above, for example, has quality preamps that will be very good for recording your acoustic guitar.
Note that there is no “audio interface for guitar”: all audio interfaces can be used for this type of application.
► I recommend reading my selection of the best interfaces for home studio.
Which software to use to record your acoustic guitar?
Necessarily, the audio signals you capture via your microphone and that pass to your PC through the interface must be recorded using dedicated software.
If your goal is really pure and simple recording, without processing, free software like Audacity on Windows or GarageBand on Mac (even though the latter can already do quite a lot) can be interesting options to start with.
However, in a studio or home studio context, we usually work with a DAW (Digital Audio Workstation) or STAN in French (Station de Travail Audio-Numérique) — that is, a professional software that allows you to add effects or mix a complete track afterwards.
It is rather towards this kind of tools that I advise you to turn, even if you are a beginner.
► For more information, visit my detailed article on DAW software.
Get ready to record your acoustic guitar
Before you start positioning your microphones and clicking the record button, a number of steps must be followed — or rather, a number of elements must be checked.
These elements are crucial for allowing a good quality recording, especially in a home studio context where conditions are not always optimal.
Of course, I will assume here that the musician knows how to play the piece as well as possible, because necessarily the artistic performance is the first factor of quality.
Choosing the instrument
This aspect is sometimes overlooked in a home studio, in the sense that not everyone owns several guitars.
However, I would like to draw your attention to the fact that the instrument itself has a strong impact on the attitude and texture of your acoustic guitar recordings:
- If you want a dark sound, and your instrument is ultra-bright, you will have a hard time achieving your goal.
- If the sound of your guitar is weak, thin, and light, it will be difficult to obtain a recording that takes up space in the mix.
- Etc.
The impact of the instrument on the sound is therefore something to be truly aware of. And as much as possible, it is advisable to choose the guitar that best suits the type of music you want to record.
Tune your guitar
Nothing is worse for the recording of an acoustic guitar than a poorly tuned instrument.
This can really harm your recordings.
Of course, you need to remember to tune the guitar. Even if you tuned it a few hours before, do it again. And don’t hesitate to regularly check that the tuning hasn’t shifted.
But that’s not the only point to pay attention to.
The age of the strings has a really important impact on the quality of the recordings you can make: the more worn the strings are, the less bright the sound will be.
I therefore recommend changing the strings before any recording session. Of course, avoid changing them just before, as new strings tend to stretch: do it the day before or at least a few hours before recording.
A visit to the luthier before major recording sessions can also be beneficial for your guitar: this will allow you to ensure that the intonation is as accurate as possible, but also to correct common string buzzing issues.
Choose the right room
The room in which you record will play an essential role in the properties of the sound captured by your microphone — even more so if it is a condenser microphone (which is by definition more sensitive than a dynamic mic).
To take an improbable example, if you do your acoustic guitar recording in your bathroom, you will never achieve a quality result.
So start by carefully choosing the room in which you will record: perhaps your living room sounds better than your bedroom? Or maybe room X will allow for a cleaner sound because it is not street-facing, unlike room Y?
Then, if possible, use acoustic treatments to mitigate any bothersome reflections and better control the acoustics of the room.
Choose your pick
To conclude this chapter on preparation before recording an acoustic guitar, let’s talk about picks or picks in English.
Their impact on the sound of the guitar is huge.
Between a Dunlop Tortex and a Fender Medium in celluloid, there is a big difference — a difference that will necessarily be heard in your recordings.
Before starting the recording, choose a pick that suits the style and sound you want to achieve, so as to put all the chances on your side.
Don’t hesitate to try several before starting the session!
Which microphone to choose for recording your acoustic guitar?
There are many microphone options for recording acoustic guitar (classical or folk).
However, this does not make the choice of the capturing device any less important.
Condenser microphones, the basic choice
The acoustic guitar is a delicate instrument, with many details that are often desired to be captured during recordings.
And many details often mean a condenser microphone.
Indeed, this type of microphone tends to be particularly capable of reproducing the details of the playing and the sound of the instrument.
So I recommend you focus on this type of microphone for your (home) studio.
After that, you still have the choice between large or small diaphragm microphones.
Objectively, both work well — even though small diaphragm microphones are often used on acoustic guitars due to their good transient reproduction.
► So I suggest you take a look at my selection of the best microphones for acoustic guitar.
Another option: dynamic microphones
Honestly, when I have to record an acoustic guitar, whether it’s a folk or a classical guitar, dynamic microphones are not my first choice.
They are often less detailed, with a more limited frequency range.
However, that doesn’t mean they are unusable: a good old Shure SM57 can still do a good job — but I find it really depends on the instrument and the mix.
In any case, if the pieces you want to record are really guitar-oriented, lean towards more detailed condenser microphones. If, on the other hand, the guitar is in the background, a small part of a larger instrumentation — then a dynamic microphone might do the job.
And portable recorders?
Sometimes we hear about portable recorders — you know, those small battery-powered boxes that allow for stereo recordings via two microphones placed at one end.
Objectively, this is not a viable or reliable solution in a (home) studio context.
However, for recording a quick demo or if you just want to record yourself without dealing with an audio interface, it can be an interesting option.
Personally, I use a Zoom H4N for outdoor recordings and it works quite well.
Of course, you shouldn’t expect great recordings (there is notably a significant background noise), but for non-critical use (= not for an album) the quality of the recordings remains usable.
Techniques for recording acoustic guitar
There are many different techniques for recording an acoustic guitar, whether folk or classical.
And each sound engineer potentially adds their touch depending on the desired sound, the musical style…
Through the following chapters of this article, I propose a review of the main methods — feel free to test several to see which one suits you.
The method to absolutely avoid
The first reflex when starting to record your acoustic guitar is to position the microphone directly in front of the soundhole.
It seems logical: “that’s where the sound comes out.”
However, this is a very bad idea, and I strongly advise against placing your microphone this way (if I could forbid you, I would :D).
Indeed, it is a spot where low frequencies tend to accumulate.
The result: the sound is very muddled, contains way too much bass, and is “boomy” as our English-speaking friends say.
In short, avoid it as much as possible — it’s better to keep reading to discover other techniques.
Method #1: A microphone at the 12th fret
This is the simplest method to set up for recording an acoustic guitar, as it works 99% of the time.
In fact, it is also the basic method that I believe you must master before tackling more complex microphone placements.
It involves placing a single microphone (preferably cardioid, but not mandatory) at the level of the 12th fret of the guitar, at a distance of 15 to 30 centimeters from the instrument.
You can, of course, move back a bit more to also capture the sound of the room, if that is your wish.
With this position, the sound of the guitar is generally well balanced in terms of the body’s power and the strings’ brightness.
Moreover, simply by orienting the microphone, you can change the texture of the sound:
- if you turn it a bit towards the soundhole, you will hear the pick and its attack on the strings more prominently;
- if you turn it a bit towards the head, your sound will be thinner, less deep (but be careful not to lose all the body of the instrument).
Method #2: A microphone at the bridge
Another option for recording an acoustic guitar with a single microphone: place the mic at the bridge, or even between the bridge and the hand.
Admittedly, with this technique, you will have more bass and mids than in the previous method. However, the sound will be much softer with less string noise, which can be interesting depending on the style sought.
By default, I recommend positioning the microphone a little below the bridge, angling it upwards.
However, you can certainly experiment with the placement, for example by raising the mic so that it is tilted downwards instead.
Be careful, though, of high-frequency masking that can occur if the hand passes in front of the microphone while the musician plays.
Method #3: Two “free” microphones
Now let’s move on to stereo recording techniques.
Because indeed, nothing prevents you from using multiple microphones instead of just one.
In this technique, which I call “free”, the idea is to use two spaced microphones to capture different aspects of the sound of the acoustic guitar.
Perhaps, as in the diagram, you will position one mic at the 12th fret and one mic at the bridge?
There isn’t really a rule; you need to experiment while being mindful of the phase.
The 3:1 Rule — to minimize phase issues when using two microphones, ensure that the distance between the two mics is at least three times the distance between each microphone and the sound source (the guitar, in this case).
You can of course use two identical microphones, but it’s not mandatory at all (on the contrary, I personally enjoy using different but complementary microphones).
The possibilities are vast!
Once you’ve made your recording with this technique, you even have two options:
- either you treat it as a stereo recording, with one microphone placed to the left and one microphone placed to the right in the stereo image;
- or you mix the signals from the two microphones to create a “more balanced” signal. For example, you might imagine a situation where you subtly mix the signal from an SM57 that has captured a lot of mids with the more neutral sound of a condenser microphone.
Method No. 4: The AB Technique
Although the previous method is sometimes associated with an AB recording, the “real” AB method involves using a pair of omnidirectional microphones, positioned parallel and spaced about 15 to 60 centimeters apart.
A good starting point is to have one mic positioned around the 5th fret and a second one around the 12th or 14th fret.
With this acoustic guitar recording technique, the stereo effect is very pronounced — which can almost be bothersome in certain situations. Fortunately, it is possible to adjust the distance between the mics and the instrument to correct this.
Little tip: there are coupling bars, sometimes graduated, on which you can mount your microphones for this type of recording.
Method No. 5: The XY Technique
Probably one of the most well-known and widely used stereo techniques, as it is extremely easy to set up and has the advantage of minimizing phase issues between microphones.
In this XY method, two superimposed cardioid microphones are used, forming an angle of 90° to 120°.
Of course, this involves using small diaphragm microphones to make the setup correctly.
Additionally, this technique is particularly suited for close miking of the instrument, rather than distant miking. Try to position yourself at a distance of 15 to 30 centimeters from where the neck meets the body of the guitar to start.
If the sound has too much bass (“boomy”), which happens quite often due to the proximity effect of cardioid microphones, try moving your mics back slightly.
Method No. 6: The ORTF Technique
A French technique!
Indeed, ORTF refers to the French Broadcasting-Television Office.
The method is very precise: you must position two microphones at an angle of 110°, with 17 centimeters of spacing between the capsules of the two mics.
Ideally, you would use similar and matched microphones.
The technique is quite effective for achieving a very wide, fairly natural sound, but it works better for relatively distant recordings: don’t hesitate to move 30 centimeters to 1 meter away from the instrument right from the start.
Method No. 7: The Mid-Side Technique
The last method presented in this article — perhaps a bit less common, but that doesn’t prevent it from being very effective for recording an acoustic guitar in stereo while avoiding phase issues.
For this Mid-Side method, you will need two microphones:
- 1 cardioid microphone, which will serve as the “Mid” signal;
- 1 figure-8 microphone (ribbon or not), which will serve as the “Side” signal.
The placement of these microphones is very important:
- the figure-8 microphone is positioned at 90° to the guitar, meaning that the recording axis is parallel to the axis of the guitar;
- the cardioid microphone is placed as close as possible, just above.
From this setup, you will obtain two tracks, which need to be processed in a specific way to properly enjoy the stereo image. Indeed, you must perform the following manipulations in your DAW:
- position the cardioid microphone track in the center in terms of panning
- duplicate the figure-8 microphone track to obtain two identical tracks:
- position the first completely to the left
- invert the phase of the second and position it completely to the right.
The diagram below summarizes this manipulation:
FAQ for Recording Acoustic Guitar
All the information above should already help you with your acoustic guitar recordings.
However, in addition, here are some answers to the most common questions.
How to record an electro-acoustic guitar?
Many home studio enthusiasts own an electro-acoustic guitar (myself included), and they often wonder: should I record my instrument with a microphone as described above, or is it better to use the built-in microphone of the guitar?
Because yes, plugging in your guitar via a simple jack cable seems much simpler and less expensive than a dedicated microphone, which also needs to be properly placed in front of the instrument…
To this question, I suggest you listen to the following video (I’ve selected the right segment) since I’ve already answered a similar question in the first episode of #CaféStudio.
But to give a summarized and simple answer: I advise against using piezo mics or other built-in microphones on your electro-acoustic guitar for recording.
Indeed, the quality of your recordings will not be optimal — at least not if the instrument is to be highlighted in the mix. If it is drowned among many other elements, then we might be able to achieve a somewhat acceptable result using the built-in mics.
Should I record my acoustic guitar in mono or stereo?
There is no right answer.
It depends on the musical style and the type of piece that you will most often choose between a mono recording and a stereo recording for your acoustic guitar.
If your goal is simply to record a guitar track that will join a fairly complex instrumentation and therefore will not be too prominent, then a mono recording will probably be just fine, as it won’t take up too much space in the mix.
On the other hand, if you are recording a piece where the guitar plays a very important role (I think for example of solo singers who play guitar while singing), then having a stereo recording will allow you to highlight the instrument more easily, with perhaps a bit more realism.
Should I record the voice separately or at the same time as the acoustic guitar?
If you sing while playing the guitar, you are probably wondering about the best way to record both.
Personally, I tend to prefer separate takes for each instrument, playing to a click track. This allows for good overall coherence and ensures that the tempo is followed accurately.
However, if you are working in a more “songwriter” context, where there are no other instruments besides your voice and guitar, I think it can be interesting to do a simultaneous recording.
This will likely give a bit more “feeling,” a bit more naturalness to the music.
You can of course use a single microphone in this case, but I recommend testing a two-microphone setup to facilitate mixing: by doing so, you will have access to a vocal track and a guitar track, and you can process both separately.
In conclusion
There you go, you now know almost everything about recording acoustic guitar.
If you have any questions left, feel free to ask them below, in the comments… 😉
► Continue reading: The equipment needed to set up a home studio.