Mics for acoustic guitars

john_kidder

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Folks:

There is an interesting conversation on the "Guild JF-30 sunburst, year 2000 vs "new" GAD JF-30" thread, about mic'ing acoustics. I'm looking for a solution for my beloved GF-60R, and was interested to see the postings from HoBoKen:

"For a true acoustic balanced sound, I use a shure SM-57 aimed at the fret board just above the sound hole out about 4-6 inches. (I also like Sennheiser 835s.)

Next best thing is to get a dual system with a Piazzo pick-up under the bridge coupled with a mini-57 mounted inside the guitat on a mini-goose-neck."


followed by this from Dudley-Brian Smith of Smithfield Fair:

"The system I have been using on my small, jumbos, dreadnaughts, 6 & 12 string versions, concert size (like the M-20) and the B-50 bases is simple and all the same. I use the Shure SM11 lavalier microphone - very similar in pattern to the SM57. I suspend the mic. facing the bass side of the body and slightly to the back end (usually using a velcro strip attached to one of the braces - you'll have to experiment for yourself there) and then run the cord to a flush-mount XLR connector in the end block. (Positioning is slightly different on different models - try moving the mic. to get the right position for you.) It is simple, easy to install, has no batteries to change out, and goes into the PA with a mic. cord, or into a direct box for use with an amp or effects pedals (I don't use or advocate effects for acoustic music, actually). The P.A. is usually set flat with occasional gain boost in some settings (depending upon the sound system and size of the hall) and what "dead air" sound is more than compensated with the ambient sound of the hall. This system stifles any feedback and allows complete freedom to move around the stage."

Who else has experience, thoughts to share, etc.?

Thanks all,

John Kidder

New York 1954 X-4??
Hoboken 1957 M-20
Hoboken 1967 Mark IV
Westerley 1973 D-25
Westerley 1987 GF-60R
 

john_kidder

Senior Member
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Location
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Folks:

There is an interesting conversation on the "Guild JF-30 sunburst, year 2000 vs "new" GAD JF-30" thread, about mic'ing acoustics. I'm looking for a solution for my beloved GF-60R, and was interested to see the postings from HoBoKen:

"For a true acoustic balanced sound, I use a shure SM-57 aimed at the fret board just above the sound hole out about 4-6 inches. (I also like Sennheiser 835s.)

Next best thing is to get a dual system with a Piazzo pick-up under the bridge coupled with a mini-57 mounted inside the guitat on a mini-goose-neck."


followed by this from Dudley-Brian Smith of Smithfield Fair:

"The system I have been using on my small, jumbos, dreadnaughts, 6 & 12 string versions, concert size (like the M-20) and the B-50 bases is simple and all the same. I use the Shure SM11 lavalier microphone - very similar in pattern to the SM57. I suspend the mic. facing the bass side of the body and slightly to the back end (usually using a velcro strip attached to one of the braces - you'll have to experiment for yourself there) and then run the cord to a flush-mount XLR connector in the end block. (Positioning is slightly different on different models - try moving the mic. to get the right position for you.) It is simple, easy to install, has no batteries to change out, and goes into the PA with a mic. cord, or into a direct box for use with an amp or effects pedals (I don't use or advocate effects for acoustic music, actually). The P.A. is usually set flat with occasional gain boost in some settings (depending upon the sound system and size of the hall) and what "dead air" sound is more than compensated with the ambient sound of the hall. This system stifles any feedback and allows complete freedom to move around the stage."

Who else has experience, thoughts to share, etc.?

Thanks all,

John Kidder

New York 1954 X-4??
Hoboken 1957 M-20
Hoboken 1967 Mark IV
Westerley 1973 D-25
Westerley 1987 GF-60R
 

Mr. P ~

Gone But Not Forgotten
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John_Kidder,
Well, as you know, Hoboken and DB are about the most experienced players on this board as far as I can tell. There advice is sound.

The SM 57 that Hoboken mentioned is the old Shure workhorse. It has been around since the 50's I believe. It is a cardioid patern whic means it would be the least likely to feed back of the external microphone types. If you are a stationary player then it would be a great choice. It is also pretty tough....Not as tough as the old Electrovoice "Buchanan Hammer", but it is a much better mic. You would need to pick a spot and not move around much as the tonal quality changes with position as well as the sensitivity.

If you move around at all, then the undersaddle pick up with a internal mic is a better route to take. I have a L.R. Baggs Element Active pickup in my D-25, and now that I am playing in public regularly I will add a microphone and Baggs MixPro belt pack two channel mixer. The mix pro will allow me to mix the mic and pickup before it goes to an amp or the FOH Console. Pickup and mic combos are offered by most ot the undersaddle pickup manufacturers, I just know more about the baggs units.

Just for fun if you want to listen to the different pickup rigs available, check out this web site. Hope this helps.
:wink:

http://www.dougyoungguitar.com/pickuptest.htm
 

Mr. P ~

Gone But Not Forgotten
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John_Kidder,
Well, as you know, Hoboken and DB are about the most experienced players on this board as far as I can tell. There advice is sound.

The SM 57 that Hoboken mentioned is the old Shure workhorse. It has been around since the 50's I believe. It is a cardioid patern whic means it would be the least likely to feed back of the external microphone types. If you are a stationary player then it would be a great choice. It is also pretty tough....Not as tough as the old Electrovoice "Buchanan Hammer", but it is a much better mic. You would need to pick a spot and not move around much as the tonal quality changes with position as well as the sensitivity.

If you move around at all, then the undersaddle pick up with a internal mic is a better route to take. I have a L.R. Baggs Element Active pickup in my D-25, and now that I am playing in public regularly I will add a microphone and Baggs MixPro belt pack two channel mixer. The mix pro will allow me to mix the mic and pickup before it goes to an amp or the FOH Console. Pickup and mic combos are offered by most ot the undersaddle pickup manufacturers, I just know more about the baggs units.

Just for fun if you want to listen to the different pickup rigs available, check out this web site. Hope this helps.
:wink:

http://www.dougyoungguitar.com/pickuptest.htm
 
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Hello and good morning at all.

I don't know on which posting I should answer now - but in a german 'talk' I found another system which may be good. Look at the following website: http://www.kksound.com/
The product 'UltraPure Western' may be a cheap solution, which sounds good, too.
http://www.kksound.com/ultrapurewestern.html

Does anybody have any experiences with that system?

Best regards - Dietmar
 
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Hello and good morning at all.

I don't know on which posting I should answer now - but in a german 'talk' I found another system which may be good. Look at the following website: http://www.kksound.com/
The product 'UltraPure Western' may be a cheap solution, which sounds good, too.
http://www.kksound.com/ultrapurewestern.html

Does anybody have any experiences with that system?

Best regards - Dietmar
 
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The Electro-voice RE-20 is a very versatile mic and easy to find. Some of the large diaphram condenser mics coming out of China at very low prices can work very well.
 
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