Methodology
Please note this shootout was not scientific. It was more representative of how I'd choose the appropriate mic for an instrument in an average session. For super scientific shootouts I would suggest 3D Audio.
Five small diaphragm condenser mics were used to record a Takamine acoustic guitar. In alphabetical order they were AKG 451, AKG 460, Mercenary Audio KM69, Nuemann KM184 and a Sennheiser 416 ( all cardioid )
All five mics were recorded at one time to ensure consistency and avoid variation between takes. The mics were positioned pointing at the sound hole at an approximate distance of six inches.
All microphones were connected to a Focusrite Octopre with the gains matched by eye. A/D conversion was courtesy of an Apogee Rosetta 800 internally clocked. The files were recorded to Logic Pro with no additional processing. I edited and faded the audio files in Logic and took the opportunity to use Sonalksis' Free G to match the volume more accurately.
Files were then bounced as 24bit Wavs. No eq, compression or reverb was applied.
A big thanks to Kev Amos who kindly played the guitar and let me use his studio. He also contributed the AKG and Sennheiser mics.
Kev Bent at Unity Audio supplied the KM69 and the Nuemann 184 is mine.
Hope you enjoy.
Links
3D Audio Inc Superb audio shootout resource
Unity Audio UK distributor of the KM69
Kev Amos Kev Amos' Myspace
Please note this shootout was not scientific. It was more representative of how I'd choose the appropriate mic for an instrument in an average session. For super scientific shootouts I would suggest 3D Audio.
Five small diaphragm condenser mics were used to record a Takamine acoustic guitar. In alphabetical order they were AKG 451, AKG 460, Mercenary Audio KM69, Nuemann KM184 and a Sennheiser 416 ( all cardioid )
All five mics were recorded at one time to ensure consistency and avoid variation between takes. The mics were positioned pointing at the sound hole at an approximate distance of six inches.
All microphones were connected to a Focusrite Octopre with the gains matched by eye. A/D conversion was courtesy of an Apogee Rosetta 800 internally clocked. The files were recorded to Logic Pro with no additional processing. I edited and faded the audio files in Logic and took the opportunity to use Sonalksis' Free G to match the volume more accurately.
Files were then bounced as 24bit Wavs. No eq, compression or reverb was applied.
A big thanks to Kev Amos who kindly played the guitar and let me use his studio. He also contributed the AKG and Sennheiser mics.
Kev Bent at Unity Audio supplied the KM69 and the Nuemann 184 is mine.
Hope you enjoy.
Links
3D Audio Inc Superb audio shootout resource
Unity Audio UK distributor of the KM69
Kev Amos Kev Amos' Myspace