Malcolm Boyce wrote:macrae11 wrote:So, Andrew. If you were micing up an acoustic for ODs, and decided on using one mic, would it most likely be an LDC, SDC or something else, and most likely what pattern?
Well assuming strictly for a "sit in the mix" type scenario, it will usually be the U87, or sometimes a 414ULS. It's usually a LDC because, well, I don't have any SDC!
I know! It's the biggest hole in the locker here. Typically will be cardiod pointed somewhere at the 12th-14th fret from anywhere from 4"-2' away. Sometimes if I'm looking for something more intimate and full I'll go into omni mode to eliminate proximity effect and move closer to the sound hole. Sometimes almost right out front. 99% of the time something in those scenarios works on our Lariveé. If I have another guitar in I might experiment a bit more. If I'm doing stereo usually it's the 414's in MS. If I'm doing a singer/guitar player simultaneously it'll almost always be some combination of those two mics in figure 8 with the nulls pointed at the undesired sound source.
When I'm with the Fluid boys, as Matt said, it's usually some combination of the 4051 and the L251. If stereo it's usually a spaced pair.
To give you some ideas:
This album's guitar tracks were recorded entirely with the 414's in MS with a Taylor 810.
http://www.reverbnation.com/katherinemollerhttp://www.katherinemoller.ca/This album was mostly U87 on said Lariveé with some Gibson SJ200, and I think there was even one song with some Yamaha Compass on it. Mostly heavily overdubbed, multiple pass, different capo positions etc. Very different from the previous album.
http://www.richardpaul.ca/music.html