john_kidder
Senior Member
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
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