As I sit down to write this guide on how to record acoustic guitars, I’m a little overwhelmed. Since not only is the acoustic guitar one of the more challenging instruments to record really well, it’s also a different instrument to different people and one with a changing role in each song. Every guitar has its own natural voice, and each player approaches the instrument in a unique way. There are so many variables that make recording an acoustic guitar difficult, even in a pro studio with the best mics and acoustic spaces available, how can it not be overwhelming?
That’s when I have to stop and remind myself that the only consideration that matters is how it sounds, and, amazingly, not one single recording method, mic, technique or trick really matters if you’re happy with how the acoustic guitar sounds coming out of your speakers.
So this article will be a primer on what you can do to improve your chances at getting a good sound quickly and easily, a starting point from which you can bend, twist, tweak and spin until you’re happy. At the end of the day, all I really want is that you are happy. Since I can’t buy you a beer… let’s talk guitars.
There is a lot of ground to cover, so with the Hear the Music audience in mind, I’m going to concentrate on two scenarios. Each has some important information that can be mixed and matched between scenarios, applied to recording other instruments and ultimately stored in your cranium for the day it applies elsewhere. Our two scenarios are:
Recording an acoustic guitar in mono
Recording an acoustic guitar in stereo
We need to limit the field a little bit more too. The best and most natural acoustic guitar sounds are usually captured in a really nice sounding room, one with a mix of absorbent and reflective surfaces – substitute carpet and drapes for the absorbent home studio surfaces, and tile and hard walls for the reflective. These surfaces are ideally not parallel (uh oh) and the room is usually large enough to contribute a light reverb to its ambience (not in MY apartment!) Oh, and sound isolation would be nice too, if it’s not too much trouble.
In other words, the best and most natural acoustic guitar sounds come from a room to which you likely don’t have easy access. So we will assume each of our scenarios will be recorded in a typical spare room home studio with one door, one window covered by drapes and wall-to-wall carpeting, no barking dogs, keyboard-walking cats or screaming children – beyond the engineer, of course.
If you want to step up your game read my Guide to Acoustically Treat A Room
Okay, these are parameters will keep the scope of the article reasonable, but I’ve switched from coffee to herb tea, mostly to keep my own screaming down. Let’s get started.
How to Record an acoustic guitar in mono
Mono, short for monaural, means simply one. One mic, one track, easy peasy. It’s a great place to start, because if that simplicity. So we have a guitarist, a chair and a mic stand. The first and most obvious consideration is what mic shall we use?
VERY IMPORTANT INFORMATION: Before I talk about the best mic for this and the best mic for that, I must speak directly with those of you who have only 1 microphone. If it doesn’t match anything I describe below, you will wonder if you should even bother recording an acoustic guitar. The simple answer is, YES YOU SHOULD! Absolutely, don’t even hesitate. Will it be the best acoustic guitar sound ever? Maybe not, but you can still use the techniques described, you can still experiment, you can still do your own thing that has no resemblance to anything I say here. Guidelines are just guidelines. Never let them get in the way of actually getting down and doing it!
Your Best Bet: Large Diaphragm Condenser (Here are some I have reviewed)
This is my personal choice for a single mic on an acoustic guitar, for two reasons. Condenser mics have that high frequency sparkle that take acoustic guitars to a shimmery and transparent place, and a typical large diaphragm mic has some advantages over small mics for placement. That sounds backwards, however it has to do with tuning sound, rather than fit. We will talk more about that in mic placement below. My absolute favorite large diaphragm condenser mic is the Neumann TLM 103 (Review Here)
Good Choice: Small Diaphragm Condenser (I like the MXL V67N) Review Here
A small diaphragm condenser is a good choice also. In fact, this class of mic is known for its faithful reproduction in the high frequencies, while its large diaphragm cousins tend to exaggerate a bit there. Small cap condensers are generally less colored off axis. That is, the sound coming in the front of the mic receives the same frequency response as sound coming in from the sides, though it may be attenuated. Still, many a good acoustic guitar sound has been created using these slender mics.
Not Recommended: Any Dynamic Mic (But here are some reviews if you want to check them out)
If all you have is an SM58 (Review Here), then that’s what you will use, but dynamics aren’t a strong choice for acoustic guitar. The top end isn’t as pristine, and tone gets lost when the sound of the guitar has to move the mass of the diaphragm and coil of a dynamic. But with that said, the gritty sound of a dynamic may match a musician who pounds an acoustic aggressively, or perhaps a bluesy resonator guitar. Rules. Make ‘em and break ‘em.
Polar Pattern: Cardioid (if you have a choice)
Go with cardioid in a home recording situation. Omnidirectional mics have a place in a good acoustic environment, when you want to hear the sound of the guitar in the room. That room is probably not a spare bedroom. Let’s focus on the guitar and add the “room” later.
Microphone Placement for Recording Guitar in Mono
Here’s where hard and fast rules evaporate and evaporate quickly. I’ll tell you where I start. Where I finish generally changes every time, even when it’s me playing my guitar.
First, a quick reminder that most large diaphragm condensers are side address mics. They stand up straight and you sing into the side. Small diaphragm can be side address, but are more likely end address, so you’d point the small capsule end toward your mouth. Keep this in mind when aiming your mic at a guitar.
Now, the starting point. Imagine your guitarist sitting in playing position. Face him directly with your mic and stand between the two of you. This placement is standard for all mics, so the important thing is only that you point the mic diaphragm correctly.
The diaphragm should be parallel to the top of the guitar, so if the player holds it on an angle, the mic will match that angle. Next, point the mic at the spot where the neck meets the body. Here’s a photo of your target:
Aim for the tip of the arrow. A side-address mic will be parallel to the top of the guitar and an end address mic will be perpendicular. Start with the capsule of the mic about 2 feet from this point. That’s it, your mic is placed. Time to listen to the result.
Adjusting Mic Placement for Recording Guitar in Mono
I mentioned above that I prefer large diaphragm mics for ease of positioning. Why? Because one way to tune the mic to the guitar is to simply rotate the mic in its shock mount. This points the capsule away from that spot on the neck, but keeps the overall alignment. Here’s how it works in practical terms:
- Guitar sounds thin, lacking low frequencies – as you face the guitarist, rotate the mic up to about 45 degrees to your left, so the capsule points toward the sound hole and guitar body. This “focuses” the mic on areas that are typically more full-bodied.
- Guitar sounds boomy and indistinct – rotate the mic to your right, away from the sound hole. This will thin out the sound of the guitar, but it may introduce more finger noise from the fret board, so adjust carefully. Some finger noise is normal, part of the real acoustic guitar sound, but don’t overdo it.
Now, you might be wondering what the difference is between rotating a large diaphragm over a small diaphragm. You’re right, you would do the same with a small cap pencil condenser, but think about how the mic’s capsule moves in both cases. With a side address mic, the capsule rotates around its own axis. The end address capsule rotates around wherever the mic is mounted, usually about the middle of the mic. There may be a couple of inches of arc there. What’s the big deal? Probably nothing, but I find rotating a mic around the capsule’s axis allows for very fine tuning, as you’re maintaining a consistent distance between the mic and the instrument.
If you have a good sound when you initially set your mic, you can use that fine adjustment to pinpoint your ideal sound. When you’re swinging the capsule back and forth, you change the distance between the mic and the guitar. Often, you can mount a small diaphragm mic farther back, so the capsule is closer to the point of rotation. Great observation! Just be sure that none of the little vents around the capsule are blocked by the mic mount. Those vents are essential for creating the mic’s polar pattern.
Most of the time, that placement and rotation will give you an acceptable and tuned sound. When it doesn’t, you can also tip the mic up or down. Say that rotation to the right put too much accent on finger noise. Tip the mic toward the floor instead, or perhaps up. Or rotate it left more than 45 degrees. With a large diaphragm, the off axis sound of the mic is often different, so it might be the sound you’re looking for.
That’s about it for mono miking an acoustic. Note that this goes on the assumption you find a sound you like. If not, there’s nothing that says you can’t put the mic on the guitar’s body near the bridge, over the player’s shoulder, under the chair or behind their back. Learn to really hear what’s going through a mic and identify what you want it to sound like, then make the two match. If you’re doing that, the hows and the whys really don’t matter.
How to Record an Acoustic Guitar in Stereo
Woo hoo! Two mics! This is getting serious. Stereo miking is a several hour lesson in itself, so I am going to gloss over some of the more involved technique there and look at two general approaches: coincident and spaced pair miking. Coincident pairs usually use two of the same model mics, often a pair that has been specially calibrated to match very closely in frequency response. If you don’t have two matching mics, it’s probably best to go with spaced pair miking for now, but remember, No Rules.
For mic preference, stereo is the reverse of mono. I prefer small diaphragm mics, particularly when coincident pairing. The smoother high frequency response suits this application, but large caps are also used for stereo miking techniques, so smoke ‘em if ya got ‘em.
Coincident Pair Placement For Recording Acoustic Guitar
Good news, campers. What you learned about the starting point for mono mic placement applies to stereo, more or less. As you might have guessed, coincident pairs are close together. Here’s another photo:
This 90-degree orientation of the mics should stay constant, at least to begin with. The two mics form an arrow shape. Start by pointing that arrow at the neck/body joint, then turn the arrow left until it is pointing about four frets above the joint, like this:
Be sure that when you connect your mics to the mixer or recording interface, you pan each mic hard to left and right. When you listen to the sound of the guitar through the mics, there should be a definite 3-D soundscape. The guitar should not sound as though it is coming from a point in space in the middle. That, friends, is the stereo effect.
Rotate the arrow to adjust your sound the same way you moved the mono mic until you find your sweet spot. You can also change the angle between the capsules of the mics. Make the arrow narrower to make the stereo spread narrower, and, you guessed it, make the arrow wider to make the stereo spread wider. Too wide and you may hear a hole in the center. For solo guitar, not a good thing, but if you have a singer, well, wouldn’t a voice be lovely in there? Something to keep in mind as you try things. You can also close that hole by adjusting the panning of the mics in, so you have options there.
Spaced Pair Placement for Recording an Acoustic Guitar in Stereo
Coincident pairs work well because the mic capsules are time aligned. They are close enough together that sound from the guitar reaches them about the same time. There are some technical reasons why this is a good thing, but nothing interesting enough to describe here. Spaced pairs need a few special tweaks, though, to avoid issues. It’s probably helpful to think of a spaced pair mic treatment as dual-mono, rather than a true stereo technique, at least where acoustic guitars are concerned.
The nice thing about that is, the first mic in this dual mono arrangement is set up exactly like the single mono mic in the first part of this article. However, it will be closer to the guitar, about one foot away. The second mic will be to your left/the guitarist’s right. VERY IMPORTANTLY it will be a minimum of three feet to the left of where the first mic is aimed. That means that the mic capsule will be angled to the right to point at the guitar, but that’s secondary. This mic MUST be at least three feet away from that spot. Bad things will happen if you do not heed this advice. It has to do with time alignment. If it’s off, you’ll get a nasal, boxy awful sound from the guitar.
That’s your starting point for spaced pairs. After that, as long as you observe what’s called the three-to-one ratio, everything is fair game.
Recording an Acoustic Guitar Signal
With your mic(s) connected to mixer, preamp or digital interface, it’s time to adjust the level and record the guitar.
A Note About EQ: If your mixer has a Lo Cut button, it’s okay to engage that to avoid recording floor rumble and other non-essential low frequency sounds. Otherwise, at this stage, ignore EQ altogether. If you hear something you don’t like, move the mics to fix it. Mic placement is the first line of EQ and it is the most effective and sonically pure way to get the sound you want. When sounds are good going in to your recorder, all subsequent steps including mixing will be much easier than if you start fiddling with EQ and effects from the start. Learn from my mistakes.
How exactly you will measure your incoming signal depends on your mixer or recording software. Some mixers have very nice meters, while others only show signal is present and clipping. Any recording software should have a multi-segment meter. The screenshot here is from Sonar and it is representative of most software digital audio workstations.
Note the green lines and the range between -3 and -12. Adjust the gain of the mic(s) so that most of the guitar’s performance is falling within that range. It’s okay for some to be higher and lower. In fact, I guarantee it will be. The two conditions you want to avoid are lighting the Red segments at the top or having a signal that averages below -12.
You’ll probably need enable record on the track(s) the guitar will record to, to see the signal level in your DAW software. It’s natural for musicians to play harder when recording starts. They’re not trying to sabotage you, it’s just an adrenaline thing. You can never forget the human element is essential to great recordings.
A Quick Break
We’ve covered a lot of ground and at the moment, we’ve captured the signal and sent the guitarist home. We still need to process that signal, add a “room” and consider how it’s going to fit in various recording projects.
And what about the guitarist who also sings? While what we’ve covered so far is great if the guitarist will overdub, there are ways to mic up both the guitar and voice to capture a performance in a single pass. We will take a look at that, as well as more of the human element, things to do to put the musician at ease so the chances of capturing a great performance are that much better.
How to Record Vocals and Acoustic Guitar
In the first part of our acoustic guitar guide, we looked at how to record in mono and in stereo. Microphone choices were discussed as was placement and adjusting mic position to get as close to the sound we want as possible without using EQ or other processing.
Now, we want to take a look at recording a singer who plays acoustic guitar. This is a common recording situation. In fact, songwriting demos are still done with just a guitar and voice today as a simple way to present a strong song.
There is always overdubbing, in which case, you know what you need to record the guitar part. There’s no extra challenge from a miking perspective to add a voice. Even working with a voice and guitar duo is easy, since you can keep each person far enough away for mic separation, but close enough that they can interact. Once again, the guitar techniques from above still apply.
One key advantage to getting voice and guitar down at the same time is that you don’t need to worry about monitoring for the performer. No headphones, monitor mixes, extra cables and greater risk of red light fever, that disease that affects most players at some point in a studio setting.
The singing guitarist can be approached in a couple ways and, as with most things in the recording world, it depends on the context of the song. The good news is that the techniques you learned above will continue to get a workout, no matter how you decide to record a guitarist who sings.
There is a question we need to ask to identify the context of the recording. It actually makes it a pretty simple process, one that I can handle in the morning before I have coffee. Since, generally, I can’t make toast before I have coffee, it’s definitely a simple process.
“Is this recording going to be stand-alone voice and guitar?”
Yes – In this case, we will probably want to go with a stereo mic technique for voice and guitar.
No – A mono technique for both voice and guitar is probably adequate.
Easy, right? So let’s get to it.
Recording Vocals and Guitar with Coincident Pair Stereo Method
Above, we established that we are probably working from a typical home studio, which is not likely going to be a great sounding acoustic space. If we were, we would take that coincident stereo pair and move it around in front of the musician until we found the spot where voice and guitar are balanced and tonally solid. How do you find that spot? There’s a system:
- Surrender any dignity or vanity you might have in the name of great music.
- Duck, weave, bob, rotate, raise, lower, spin, slide, and mosey around until everything sounds great to your ears.
- Replace your head with the coincident mics.
When you start hunting for that sweet spot, all other considerations will disappear. And you will cause the musician to smile once they realize you’re not having some sort of seizure.
There is another compelling reason to use this method even when you don’t have a great acoustic space. When you’re using microphones directly into a stereo interface, you may only have two inputs. You cannot use a Y-adapter to put two mics into one input. You’ll need a mixer with 3 or more XLR inputs for any other stereo technique, even if the analog or USB output of the mixer is only 2 tracks.
Pro Tip: a stereo mic bar puts both mics onto one mic stand and makes positioning a breeze, since that 90-degree angle doesn’t change every time you move the stand. These can be bought on Amazon very cheaply. They pay for themselves in one busy mic placement session.
There are two schools of thought on fine-tuning the coincident pair in this arrangement. I use the same plane method, where the mics are at the same height. The other method is to have one mic over the other so the centers of the capsules are aligned vertically, the theory being that time alignment at the capsules is tighter than the same-plane method. Makes sense, but I haven’t heard much of a difference. You can pick your favorite. I trust you.
Recording Vocals and Guitar with Coincident Pair and Vocal Microphone Stereo Method
If your studio has more than two XLR inputs, then there’s a three-mic technique that lets you get mics close to minimize the effect of room acoustics. You can go right back to the coincident pair method from above. Those two are going to be working primarily on the guitar.
Mic Number Three is going to be your best vocal mic. If you have a large diaphragm condenser, this is where to use it. Most are cardioid, or if they have multiple patterns, cardioid will be the one we use. It’s particularly important for this application, so hopefully you’ve trained your brain to see that invisible pattern surrounding the mic, and in particular, that dip that gives the cardioid pattern its heart-shaped name.
Take a look at this large, scary man:
He’s sitting behind three unplugged mics to give you an idea of placement. The mics are unplugged both for clarity and because he had nothing particularly interesting to sing. He did, however, sit very still for me.
Though the angle of the photo distorts perspective a bit, the coincident pair is arranged with the mic on the right pointing to about the 14th fret on the guitar, about level with the intersection of body and neck of the guitar, about 18 inches away.
The vocal mic is about 6 inches away from the singer’s mouth, and, as you see, quite a bit below. The mic is rotated to point toward the singer and the back of the mic, where the notch in the cardioid pattern is, is pointed directly at the coincident pair. This also points the side of the mic toward the guitar. It’s not the greatest point of rejection on a cardioid, but it will reduce the amount of guitar sound the vocal mic picks up.
What the vocal mic will not be picking up is the same guitar sound that the stereo pair does. We will also alter that some more using the 3-to-1 Rule, mentioned above.
As a quick refresher: the 3-to-1 Rule states that the distance between two mics should be three times the distance between sound sources. That would be ideal if the guitar was an infinitely small point. As you’re probably aware, guitars are not infinitely small points. This guy’s mouth is not an infinitely small point either, but that’s another story.
So, to invoke the 3-to-1 rule, there is some fudging going on with sound sources that are finitely big. While the vocal mic is about 6 inches from the singer’s mouth, there’s not fully 18 inches between that mic and the stereo pair. That’s why the null point on the vocal mic is pointing to the pair. It gives us sort of an electronic buffer to this arrangement.
The problems that the 3-to-1 Rule protects against:
It has to do with how sound moves through the air and what happens when it arrives at microphones at different times. The differences between sounds at several mics is described as phase relationship. The complete topic is extensive, so I won’t hop in on it here, but you can read a very detailed explanation from Sound On Sound here. As you’ll see, the 3-to-1 Rule is a visual guideline. It’s technically more about ratios of intensity than distance. That’s why a mic’s null point gives us a bit of a cheat when counting inches.
Phase is the reason I don’t recommend using a spaced pair with a vocal mic, as you now have 3 points in space to consider (the coincident pair counts as 1 point, since its capsules are together). There’s no reason you can’t use a spaced pair if you’re careful. However, I’ve not found it particularly effective.
As with every mic placement, adjustments are critical. Keeping mics close to sounds and far enough apart from each other is a challenge. It is a very good idea to continuously switch back and forth between stereo and mono as you listen to the signal. If the sound is drastically different between the two, you have a phase issue. Move them mics some more!
Recording Vocals and Guitar with Dual Mono Microphone Method
Two mics. That’s stereo, right? Well it can be, but I doubt that vocals on one side and guitar on the other is going to be pleasing. Certainly, that was tried in the 1960s, making for some odd headphone experiences, but it’s a trend that sounds dated.
No, the two-mic mono method treats voice and guitar as two sound sources and assigns one mic to each. Sure, there’s bleed. Vocals get in the guitar mic and guitar gets in the vocal mic, that’s a fact of life. I turn to this miking setup when I want to add other instruments to the guitar and vocal. For example, if drums, bass and keyboard are added, the guitar and the keyboard could be panned left and right to give some space in a stereo mix.
We should get something straight about stereo too. There’s nothing sacred about it, you don’t have to do mixes in stereo. If you’re seeing a singer-songwriter in a club and you’re at the back, it may be for all intents and purposes a mono sound you’re hearing, albeit in a stereo environment. If it sounds good to you with everything panned in the middle, go for it.
This method is about as simple as it gets. Well, except for the next method. But really, since you’re not using a stereo array to capture the guitar, you can get right in there with the mic. About 10 inches away is good, but resist temptation to go closer than 6 inches. Bass proximity will start making things boomy if you venture in further.
That may not be the case on the vocal mic. A little bass proximity is often desirable on certain voices. For this mic, 6 inches should be your outer limit. And I can’t say it enough about mic placement. Move ‘em till you groove ‘em. There was a time when equalisation didn’t exist as we know it. To adjust sounds, you changed it at the source or moved the mic. While I am still fond of throwing heavy blankets over drummers, this is more a personal preference than an audio solution.
Recording Vocals and Guitar with a Single Microphone
Why not? Just as there was once no EQ, once sessions were recorded with one microphone. Entire orchestras including singers! In that context, recording a singing guitarist with one mic doesn’t seem odd, does it? If you only have one mic, it doesn’t mean you can’t record. Use that sucker and thumb your nose at elitists who tell you that you can’t do anything decent without x number of mics.
Placement is the very same as the stereo array. Move and shake like an intoxicated flamingo until you hear the sound you want and stick your mic right there. Adjust as necessary.
Go back to the first half and read about levels. No matter how many mics you’re using, each should be recording in that magic range of about -12 to -6. Let’s talk about gain staging in practical terms, in the order that the mic’s signal goes through each stage.
This is a photo of two channel strips from a typical, low-cost desktop mixer. At the very top there’s the XLR inputs, then ¼-inch inputs and a GAIN knob. This is where you make initial adjustments to the incoming microphone signal. It’s a tiny amplifier inside the mixer. A mixer is really just a collection of tiny amplifiers and gain staging is all about getting these tiny amps to place nice together. Let’s leave the GAIN knob fully counter clockwise for now.
The GAIN knob is the first of three amps we need to balance to get a signal of usable strength but not so strong that it distorts. Getting a signal of -12 to -6 is the goal, but we want to do it with a balance between these three amps inside the mixer. Pretty much any analog mixer has these three controls. Digital mixers have them too, but they might be harder to find, hidden in software.
The second amp is, in this case, the LEVEL knob. On some mixers this is a fader. Same function, different package. This particular mixer has detents at the 12 o’clock position. On a mixer with strip faders, there’s a line about 1/3 of the way down, usually marked “0.” For the strips and the master volume, these are the starting points. Setting these to the starting points of 12 o’clock or 0 puts the amps in a nice, cozy spot. Give them a nice, cozy signal and these little amps will boost the signal in a nice, cozy way.
MAIN MIX Knob
The third amp is not pictured here, but is just like the LEVEL knob, though on the extreme right side of the mixer. Same thing, it detents at the 12 o’clock position, and on some mixers it’s a fader rather than a knob. It’s also called MASTER or MAIN or some variation. All of the channel strips feed into it.
Using The Three Amps to Balance Gain When Recording Vocals and Guitar
Starting with the LEVEL and MAIN MIX in the detent position (or faders at 0), turn the GAIN control clockwise as your musician plays until you have an average signal level of -12 to -6 showing on your recording meter. That’s it. You’ve balanced your gain stages.
As you add more mics, you’ll use more channel strips. Set the level of each mic exactly the same way, but alone, by itself. Turn the other strips off, either by turning the knob all the way to the left or pulling the fader to the bottom. There’s no problem remembering where the other strips were. It’s either the center detent or 0. When each mic and channel strip is adjusted, bring the LEVEL control for all strips back to that point, BUT (it’s a very important “but” so I resorted to all caps) lower the MAIN MIX knob or fader. That MAIN MIX is taking the signal from up to three mics in our singing acoustic guitarist example. If you have three healthy signals meeting on the right side of your mixer, you may need to back down from the 12 o’clock or 0 positions to avoid distortion there. Those signals from the first two amps on all three strips add up, so you need to subtract some gain at the third amp.
If you’re recording with one mic, now is the time to hit “RECORD.”
With two mics, pan one strip all the way to the left. Pan the other all the way to the right. Assign each of these to its own channel in your DAW. Some DAWs will record two tracks on one stereo channel, but you lose separate control over each track later, so in this case we don’t want to do that. Note also that “track” and “channel” are often interchangeable, so don’t worry if your software uses “channel” and “track” in the opposite way that I do. Anyway, two mics, two strips, two channels for maximum flexibility after recording.
A three mic setup probably means a little more work unless you have an interface that has more than two tracks into your computer. Those with hardware DAWs may have more simultaneous tracks as well. If you’re in that position, treat it as with two mics above. One track for each mic. Otherwise, a balance of those three mics must be made before sending it through the two channels of your interface. With gain staging already balanced, your focus is on the LEVEL controls. Raise or lower each mic LEVEL until you have the balance of guitar and voice you want. When you’re done that, adjust your MAIN MIX level to maintain that average -12 to -6 level at your recorder. You can play with panning too, but if you are reaching for the EQ at this point, it probably means you need to adjust your mic positions. Any changes you make now are permanent. These will be recorded. EQ changes made after you record are adjustable. Preserve your flexibility. You’ll be glad you did.
We’ve come to the end of this part, and we are just at the point where it’s time to hit RECORD. You have a lot to process, but remember that the TL:DR version of all of this is:
“Put the mic where it sounds good and record.”
That’s really the secret, but now you’re armed with a lot of info to help you find that spot and make it yours.
Any questions I didn’t answer? Did I get something wrong or you have a better way? Let me know in the comments below!