For me, the position of the mic and the EQ used is crucial to getting a realistic sound that duplicates what you hear in the room.

This does apply to both acoustic and electric but tends, at least in my case, to be more critical with an acoustic guitar.

Regarding mics on electrics: Of course you want to have the sound and tone you are seeking to be dialed in first and foremost.

FX: Go light on reverb because once printed, you can't remove it but you can always add more. If you like chorus and phasers and echo's, use them if you wish. As a player, I would rather select and use my FX on the sound. However, adding it in the channel strip in the DAW does have advantages. If you're looking for the slapback echo to match the tempo, it's much easier to do in in the DAW where you can set the delay tempo precisely to keep sync with the song tempo.

Be careful with dual mic setups for room ambience because you can easily get comb filtering issues you don't want. The most pressing issue is for the only or primary mic to be placed correctly. On axis, off axis, at what degree off axis, dead center on the cone or more off to one side or the other, what part of the cone, front or back of the speaker, and how far or close to the cone in the position you selected.... did I miss anything on the speaker placement? And yeah, sometimes you have multiple mics on the speakers especially if the cabinet is a 2 or 4 speaker cab with uniquely different speakers chosen for their tonal characteristics, PLUS a room mic.

Getting started in mic'ing the speaker of an amp, start simple and use one mic.

Then you also have mic choice. Many folks use dynamic mics since volumes are generally high enough that a Shure 57 or 58, for example, will pick up just fine and sound good and can handle the higher sound pressure levels found at a few inches from a guitar amp speaker just fine. Others use a condenser mic on speakers. Please check your condenser mic's operator instruction manual to see if it can handle loud amps.... some can and some can not. Word of caution, be very careful if you have a ribbon mic as these can easily be damaged by high sound pressure levels so it's advised not to use a ribbon on an amp close up. I won't go into all the mic possibilities because most home studios have one or two mics and we have to use what we have.

Acoustic mics: I prefer to use a condenser mic due to it's much more sensitive nature to pick up nuances in tone that a dynamic would miss and it's ability to work at a greater distance from the source. Ribbon mics, if you have one, can be used fairly well on an acoustic guitar with much success.

Much of the same things apply here as they did with the electric guitar, but this is one case where working with 2 mics in a stereo configuration may actually be to your advantage. Many recording enthusiasts use a body mic and a neck mic placed 12 to 24 inches from the guitar in their respective positions. Use of position and EQ to reduce boom and honk from the guitar body without losing the warmth of the tone is the critical aspect here. It takes time and experimentation ( and that can be a lot of time and experimenting) to get this right. Once it's attained, it's fairly easy to get the setup from that point on. (at least in my experience... but you still have to check it before hitting the record button on a take)

The mic on the neck picks up the string noise, fret noise and the higher end of the sound a bit more clearly. All of that is part of the acoustic experience.

This short post doesn't even scratch the surface on this topic. So, it you want to learn more about this interesting aspect of recording, do your research and go to some of the books and experts that have written on this topic. There is much to learn regarding the proper use of mics.

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www.herbhartley.com
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