As i have learned how to use and decode the mid-side microphone technique, i have begun to experiment with it.
As stated previously in other posts, i have used it with a drum kit for the overheads. However, i wanted to use it on a variety of applications. My next target was an acoustic guitar.
I have previously used a spaced pair mic technique for this but i thought that i should experiment with others rather than sticking to just one.
As explained in a previous post, i set up the mics in the mid side format on two boom stands. The mics were positioned about 2m away from the front wall in a square room and dead centre width-ways.
The hole of the acoustic guitar was positioned inline with the mics but roughly 70cm away from it.
This allowed enough signal from both the room and the guitar to be recorded.
Once decoded, i used a little bit of compression to smooth out the dynamic range and a little EQ to brighten up the overall sound (to the artists choice). Reverb was also used to create ambience and add a little extra to the room. This was also automated for the crescendo in the middle 8. following the dynamics of the song. This also creates a slight illusion of double tracking, instead, its only one guitar/take.
I decide to duck the reverb completely on the last note and replace it with tape delay to give a sudden ending with the ambience. Compiled with a fade out, this worked really well and emphasised the ending with positive results.
The track is called: 'Kentucky Crossroads' and is by a good friend of mine: Sean De Burca.
The link to the track is as follows: http://soundcloud.com/phil-hutchins-prodctions/kentucky-crossroads
Sean's Facebook page can be viewed and liked HERE
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