Acoustical Environment- Aside from a great player and a great instrument, the physical space that an acoustic instrument is recorded in has the largest impact on the sound of the recording. Generally, I prefer a space with bright and reflective floor surfaces combined with dampened surfaces on the walls and ceilings. Most home recording environments have some type of reflective floor such as wood or concrete, but lack proper acoustical treatment on the walls and ceiling. This often results in an acoustic guitar sound that is washy and filled with room reflections.

One solution to this problem can be found in the Portable Vocal Booth by Real Traps. This V-shaped absorbing panel wraps around the back side of a microphone to help diminish unwanted room reflections. Although this was meant for recording vocals, I find that it works equally as well in recording acoustic guitars. Moving the microphone in and out of the Portable Vocal Booth allows for a blend of room ambience to taste. This is helpful if you want to tame the sound of the room, but do not want to eliminate the room completely.

If you are after a very dry acoustic sound, such as the acoustic guitar in many Cat Stevens recordings, a few packing blankets can help immensely. By draping heavy packing blankets four feet behind the acoustic guitarist on microphone stands, you can further tame the room sound without killing the vibe of the room. It is often effective to angle the blankets at a 45 degree angle ?to the acoustic guitar.

The Right Tool for the Job- There are as many theories for recording acoustic guitar as there are acoustic guitarists to record. For the home recordist, with limited microphone options, the simplest approach is often the best. One microphone pointed at the 12th fret is usually enough to capture the idea of a great instrument. The large diaphragm condenser microphones, although ideal for vocals, can often sound harsh for acoustic guitars. Ribbon microphones are becoming more popular for acoustic instruments in that the high end translates in a smoother manner when recording to a digital format. The Shiny Box 46MXC is a wonderful option for home recordists on a budget, but still looking for a very high-quality signal chain.

Adding a DI- Sometimes, a microphone signal alone is not enough to allow acoustic guitars to cut through a dense mix. Blending in a direct pickup signal with the microphone signal can be just the cure for an acoustic guitar that has to battle with loud, distorted guitars and heavy drums. One potential problem with this method is that the microphone and DI signal are often out of phase with each other. Most microphone preamps have a phase invert switch that flips the phase by 180 degrees. If the signal is out of phase by 46 degrees, the only option is to move the microphone, which might not be ideal.

Little Labs has developed the IBP Variable Phase Tool that can move phase variably without the need for moving the microphone. For a situation where the blend of a DI and microphone signal is crucial for a tight acoustic guitar sound, this can save your recording. The IBP is also a high-quality direct injection box and instrument level splitter that can be very useful for recording bass DI along with an amp.

Shane O'Connor is a rock recording engineer and producer. He has worked with artists such as TAB the Band, Madi Diaz, the Blue Pages and Blackbutton. Residing in New York City, O'Connor is known for recording bands in a live-in-studio format, with less emphasis on overdubs. Shane currently works out ?of Barefoot Recording Studio in Brighton, Mass.