Vocals

[Anowrexiya]

I have the SE Reflection filter which is similar to what has been suggested on here and it works a treat for dampening my very bizarre shaped recording area.

 

I also often find that double tracking the vocal by doing actually physically seperate takes can sometimes help to give it a bit of a fuller sound if you pan them slightly off each other. Using a relatively small delay is often used to simulate this effect when only one track is used, but i often find that just recording them as seperate takes sounds a bit nicer.

[StuBA]

So, to add a layer to the question, would you use the same sorts of techniques to record acoustic guitar? Or would you seek to have the recording dynamics a little brighter?

[amnestic]

So, to add a layer to the question, would you use the same sorts of techniques to record acoustic guitar? Or would you seek to have the recording dynamics a little brighter?

 

That's exactly what I was thinking. But, I'm sure the more dry the take, the better you can create and adjust the brightness to what you want. Maybe?

[marcel72]

Acoustic guitar is 'polyphonic' and as a result a lot of the richness of the sound comes from harmonics and overtones generated by interaction between the notes, the guitar body, etc. Recording in a super-dead environment will detract from this richness, IME.

 

If the tone of the acoustic guitar is super critical (like in a vocal and acoustic guitar solo piece) I will make sure that I like the sound of the space used, because it will be part of the recording. I usually try to manage tone (brightness) and balance with mic choice and placement.

 

If the guitar is just providing rhythm or 'jangle' in a busy pop or rock mix, I will often do it in the control room, or just 'wherever' in the studio. Most of the 'room' and 'noise' will disappear into this kind of a mix, and I'll often mic the guitar very differently for this kind of an application (closer, SDC, instead of more distant, LDC).