Tracking acoustic guitar

Hi this is nice. But what about exploring other positions? I like also pointing at the two "horns" on the guitar and also to the bridge coming from the back The position from the bridge is also the most comfortable as it doesn't get in the way

Great video, makes me want explore all the possibilities . I would love to see a sequel to this video that covers stereo recording.

Great Video. It opens my eyes a little bit more and give me something for my know how I had before. Thanks!

I always find strummed acoustic guitar much trickier than picked guitar,strummed guitar seems to produce the unwanted boom unless the mic is placed very carefully,i would luv to see some more in-depth videos regarding recording strummed acoustic guitars

Hi, a position I always try when I'm recording acoustic guitars is in the area between the bottom of the bridge and the back end of the guitar. I put the mike about 40-50cms away. I find I get a full sound with very low resonance and little pick noise. Sometimes, above the guitar about where the head is and between the ears. As the man says,"check it out". Cheers.

(Cont from below...) But I love the c7fet on acoustic used much like the 47 is here

I would know more about what u'r calling "Sweet Spot of the converters" and how do you calculate it, if you please Fab :)

hey fab, would you recommend recording acoustic with two mics, or one is enough and if so how would u go about recording it with two mics?

I agree with Islandcode. When you move the mic to different positions, especially farther away , what are u using to keep the signal consistent? No finger style either is an oversight. I would rather have seen with one mic and what processing techniques u use.

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I kinda like what the 57 does. Definitely sounds low-fi to me too. But it is more appropriate for what I do. Do not need all the details that a condenser would yield.

What type of acoustic is that?

@chimulko: I think of levels in RMS and I factor in the basic idea of how what the crest factor is. RMS levels are much more consistent than peak levels and I find them easier to wrap my mind around. The sweet spot tends to be unity on your converter. It's a good idea to find out what that is. For example a ProTools HD converter is calibrated @ -18dBFS = +4 dBu. Listening to the tone of the converter is also a good idea, although it's more subjective and indexed on your mood and exhaustion level, which may be different on the day you'll mix the song.

the sweet spot of the converter is that RMS or peak level? how do you look for that spoot, digital harnesh ?