How to Mix Acoustic Guitar

Mixing an acoustic guitar can be a difficult task, and if done incorrectly, it can easily result in catastrophe! Take the case of Joe and his band – they had just finished recording a new song which was to feature a beautiful acoustic guitar solo. Joe thought he knew what he was doing so he decided to take up the challenge and do the mixing himself. As it turned out, he had no idea what he was doing and the resulting mix sounded more like a broken old banjo than an acoustic guitar.

Don’t let your mixes sound like an old Banjo!

Many amateur producers have no idea how to mix an acoustic guitar without it ending up sounding thin or lifeless. The truth is, there’s no single right way to approach mixing an acoustic track; it depends on the type and quality of your instruments and studio, as well as the desired outcome of the track. In this blog post, we will go over several techniques for getting a warm, detailed sound from your recordings by proper adjusting levels, Equalization (EQ), compression, reverb, and more!

How to Record Acoustic Guitar

Before we get into the actual mixing of the acoustic guitar, we have to keep in mind that mixing starts with Recording! Let me say that again, mixing starts with recording! Yes! It’s that important!

Recording acoustic guitar properly is essential for getting a good sound at the mixing stage. So, grab your trusty microphone and start setting up!

Types of Microphones

When it comes to recording an acoustic guitar, you have a lot of choices when it comes to microphones, but you don’t have to reinvent the wheel! Focus on using condenser microphones or dynamic microphones!

Condenser microphones tend to have a more open and detailed sound than dynamic mics, which makes them perfect for capturing the subtle nuances of an acoustic guitar. While dynamic microphones are better suited for higher sound pressure levels! (If you plan on playing and strumming hard, then a dynamic microphone may be a better choice to avoid clipping!)

Selecting the Right Pickup Pattern

Choosing the right pickup pattern is an important part of recording and mixing acoustic guitar. Different pickup patterns can help capture different nuances in the sound, so it’s important to pick one that will best suit your needs. A cardioid mic pattern is generally used for recording acoustic guitars as it picks up sound from directly in front of it while rejecting sounds from the sides and back. This helps reduce any unwanted background noise or bleed from other instruments, allowing you to focus on capturing the unique sound of your instrument.

If your recording multiple guitars at once, an omni-directional microphone might make more sense! But 90% of the time, a cardiod pattern is going to be the winner!

 

Matching a Mic to an Instrument

Matching a mic to an acoustic guitar is essential in order to get the ideal sound. It’s one of the ways that professionals stand apart from the rest when it comes to getting good acoustic sounds! They listen to the acoustic guitar being played as well as the mix that they currently have and then they select the microphone that would work best for the sound they want!

Does that sound tricky?? Well it is! For most home music producers, just use what you have and don’t worry about fine tuning the mic just yet! You can worry about that when you have your own studio in five years! 🙂

Positioning the microphone

Positioning the microphone is another key step in recording and mixing acoustic guitar. Depending on your desired sound, you may need to move it closer or farther away from the instrument. Generally speaking, a close miking technique is used for adding clarity and punch to the sound, while a more distant miking technique will add more ambience and natural room reverb.

Ambient micing technique…

Similarly, the closer you are to the sound hole, the more boomy the sound will be. There is a build up of low-frequency information that comes from the sound hole, so you can use that to your advantage while recording! If you want a more tinny and high frequency sound, then point the microphone towards the fretboard rather than the sound hole!

A good starting point for all acoustic sounds (and one that I use to start) is to position your microphone about 12 inches away from the 12th fret of the acoustic guitar and slightly angle it towards the sound hole!

Here is an example of a condenser mic being placed at the 12th fret for a great starting point!

 

Experiment with Different Microphone Placement Strategies

Experimenting with different microphone placement strategies is an important part of recording and mixing acoustic guitar to achieve the best sound possible. Different positions can yield a huge range of sounds and tones, so it’s essential to explore all the possibilities!

Placing the mic close to the fretboard will capture more clarity and high-frequency information while positioning it closer to the soundhole will capture more low-end frequency information. Additionally, angling the microphone towards the soundhole or away from it can make a world of difference in terms of getting a rich and full acoustic sound.

Experimenting with different mic positions can also help you find creative ways to record your acoustic guitar parts that fit well into a mix.

This process continues until the best sound is achieved!

Setting Up Multiple Mics (If Needed)

Setting up multiple mics can give your guitar a realistic stereo effect! That can really widen your mix! It can also allow you to have finer control of the frequencies being recorded. For example, if you have one microphone on the sound hole and the other near the neck, you can turn down one of the mics while you mix to get a more detailed sound.

This step isn’t necessary to get great sounds, but it’s something you might want to consider while your recording and before you start the mixing process!

Here is a multiple mic set up with two dynamic microphones!

Adjusting EQ Settings for Acoustic Guitar Sounds

Adjusting EQ settings for acoustic guitar sounds is an essential part of getting the perfect mix. By understanding the frequencies that make up your guitar sound, you can adjust them to create a balanced and full-bodied tone that will bring out the best in your music. Whether you’re recording rock or jazz, blues or folk – there are countless ways to make sure your guitar stands out from the crowd!

EQ settings can be dialed in as the microphone is recording through an outboard pre-amp or it can added after the recording in post processing! If you’re starting out or don’t know what a mic pre-amp is, then that’s probably a good sign that you’re not quite ready to use one yet! Once the recording has been made, there’s no going back and undoing it with a pre-amp like that!

Keep in mind that the best ways to EQ your acoustic guitar part is through the microphone placement and recording! There’s only so much EQ a guitar part can do to fix a bad recording, so make sure to get it right there! (If you need to reread the first part of this article, that might help!)

Taming the Low End and Subtractive EQ

The first part of starting an equalization on an acoustic guitar recording starts with taming the low end! I will always put a high pass filter on my recordings. Always! The goal of this filter isn’t to get rid of the low end information that starts around 100 hertz, it’s to get rid of the extra room noise and sub frequencies your microphone may have picked up during recording! Cleaning this up here let’s the rest of the mix sub frequencies shine through!

After putting a high pass filter around 50 to 70 hertz, I’m ready to tame some more of the guitar part! The rest of the EQ process is very dependent on the sound that your after, the genre of the song, and how the rest of the instruments work together!

Subtractive EQ is a powerful tool for controlling the frequency content of an acoustic guitar. It involves “cutting” or reducing frequencies in order to achieve the desired sound. By using subtractive EQ, you can remove any unwanted frequencies that are causing your mix to sound muddy or unfocused.

Subtractive EQ is all about getting rid of the sounds already there, to shape the sound you want. With careful adjustments, subtractive EQ can help create a balanced and polished acoustic guitar tone that sounds great both on its own and with other instruments in the mix!

Here’s a general chart that might help you keep in mind some of the EQ parts and what they sound like when there’s too much so you can get rid of them!

 

Additive EQ

Additive EQ is a mixing technique used to shape the sound of an acoustic guitar. It involves boosting certain frequencies in order to bring out subtle details and characteristics that were not captured by the microphone during recording.

However, boosting too much can sometimes result in undesirable tones and sounds that may not fit the style of the song or mix. Therefore, it is important to be aware of which frequencies are being boosted and by how much to ensure the desired result is achieved. For example, boosting too much at 4kHz may make the guitar sound harsh and piercing. While boosting too much at 300hz may make the guitar sound muddy!

4. Compression Techniques to Enhance Your Acoustic Guitar Mixes

Understanding Compression

Though this guide isn’t going to cover everything you’d want to know about compression, it’s important to understand it’s purpose and use as you mix your acoustic guitar!

Compression is an essential step in mixing audio, as it helps to bring out the best elements of your mix while taming the parts that are too loud or overpowering.

Compression works by reducing the dynamic range of an audio waveform, meaning it reduces the difference between loud frequencies and quieter ones. This results in a more uniform level of sound with fewer loud peaks and quiet moments.

Compression also helps to control sonic character; when used correctly, compression can emphasize certain tones within an audio waveform, adding richness and depth to a track. It can also be used to add punchiness and clarity, making sounds stand out within a mix or creating a “glued together” feel for complex tracks.

Setting Attack and Release Times

Attack and release times determine how quickly or slowly the compressor will react to changes in volume, allowing you to create dynamic mixes that sound natural.

The attack time setting determines how quickly the compressor starts compressing the signal after it exceeds a specified threshold. Faster attack times can be used to capture and tame sharp transients—such as when an acoustic guitar is played with a pick—while slower attack times leave more of the initial transient intact, resulting in punchier and clearer tones in your mix.

The release time setting determines how long the compressor “holds on” to the signal after it stops crossing the threshold. If this time is too short, then parts of your mix may sound unnatural or overly processed due to repeated, rapid compression cycles; if it’s too long, then you may lose some of that transient punchiness you’re looking for. The best way to find the perfect setting is through trial and error. Start by experimenting with different ratios until you find one that complements your mix without detracting from it!

For softer styles such as folk or singer-songwriter genres, slower attack and release times should be used since these types of music often contain gentle strumming patterns which require less aggressive compression than other genres. On the other hand, faster attack times are recommended for rock and pop music since these genres tend to feature heavier picking and more intense strumming patterns that require more control. It’s also worth noting that faster attack times can leave subtle notes or textures untouched while providing extra clarity to louder passages—perfect for genres like metal where articulation is key!

Finally, remember that there are no hard-and-fast rules when it comes to adjusting compression settings; they will depend on both your personal preferences and what sounds best in each particular musical context. Experimentation is key here: try out different settings on different parts of your song until you find something that works perfectly!

Controlling Dynamics with Ratio Settings

Using ratio settings on a compressor can help control the sound of an acoustic guitar. You can choose to reduce or amplify the dynamics by adjusting the ratio setting. A higher ratio squashes the sound and a lower ratio gently compresses it. Different sounds require different settings, so experiment with different settings until you find what sounds best for your mix. You should usually aim for around 3-6 dBs of compression when mixing an acoustic guitar track. But it’s all relative to what the song calls for and what you think would work!

Creating Balance and Space With Panning & Reverb Effects

How to Use Panning to create wide acoustic guitar parts

Panning is an important technique used in music mixing. It helps create balance and space in the music by placing different instruments or sounds in different positions. This can make the music sound wider, fuller and more interesting. Panning also helps give each instrument its own place so that it can stand out and be heard more clearly.

One of the most common panning techniques with acoustic guitars and guitars and general is called double tracking. Double tracking acoustic guitars can help add depth and width to the guitar sound in a mix. Double tracking involves recording twice with the same microphone and slightly different playing, then panning each track hard right and hard left to create a wider stereo image. This creates an illusion of two distinct guitar parts at once and gives the song lots of space.

It’s best to use double tracking for the most impactful part of the song like the chorus. If you start small with the guitars and then pan them during the most impactful part, the listener will be more emotional invested!

You can also pan the guitars to other parts of the stereo field to keep things interesting and give them their own stereo space in the mix.

How to Add Reverb to an Acoustic Guitar

Reverb is one of the most important effects for acoustic guitars. It helps to give a guitar part that natural sound. When playing in a relatively dry recording environment, it’s essential to add a reverb plug-in to emulate the sound that might happen in a real room. Our brains never hear an acoustic guitar without reverb, so we need to add at least a little on the track. Reverb is also great for blending it with other instruments in the mix.

When adding reverb to an already mixed acoustic guitar track, I recommend routing it to a reverb bus and slowly mixing it into taste. Be sure to use just enough reverb so as not to overpower or muddy up your mix. It’s also a good idea to EQ your reverb so as to clear out some of that muddiness! But it all depends on the genre and the sound you’re after!

The amount of reverb you apply should depend on the genre and style of music you are working on: for example, rock music may require more reverb than jazz or classical music.

You may want to consider using separate reverbs for different parts of the guitar track: such as body, mid-range and treble frequencies. This will help create a bigger sound with more depth.

Finally, be sure to adjust the parameters of your effect (such as size or decay time) according to how much space you want your acoustic sound to have within your mix. For instance, higher-pitched guitar parts might need a longer decay time while lower-pitched ones might require only short amounts of reverb – all depending on what type of atmosphere you’re trying to create with your mix! With some practice and experimentation you can find the perfect balance between ambiance and clarity that best suits your tastes!

Applying Delay and Echo to Acoustic Guitar for Depth

Adding delay and echo to an acoustic guitar track can help create a more dynamic sound and add depth to the mix. Delay is a time-based effect that adds a “echo” of the original signal by playing it back at different intervals. This gives the track a fuller, more expansive sound.

Reverb on the other hand is a natural sounding effect used to emulate space and depth in music – it creates a smooth wash of sound without any obvious repeats or “echoes”. Reverb can give an acoustic guitar part a subtle but effective ambiance, while delay will provide more distinct echoes and repetitions that can often be heard more clearly within the mix.

When deciding which one to use, consider whether you want something more spacious or something with an obvious echo. For most styles of music, reverb should be used for adding texture and atmosphere to acoustic tracks, while delay should be used for specific effects such as slapback or longer delays for added depth.

Additionally, adding different types of delays can help create creative sounds without overwhelming the mix – from tape-style slapback delays to shimmering digital modulation delays – they all offer unique options for creating interesting atmospheres with acoustic guitar parts! Experimentation is key here – try out different settings and see what fits your music best!

P.S. — It’s also important to note that if you’re struggling with muddiness in your reverb tracks, switching to delays might fix the problem. Delay’s will still create the atmosphere your looking for without adding all of the frequencies

FAQ

Q: What is acoustic guitar mixing?

A: Acoustic guitar mixing is the process of blending the sound of an acoustic guitar with other instruments in a mix. It involves adjusting many parameters such as EQ settings, compression, panning and reverb effects to create a balanced sound.

Q: What types of microphones are best for recording acoustic guitars?

A: The type of microphone you use will depend on the style of music you’re working on, but generally condenser microphones are great for capturing detailed sounds from acoustic guitars. Dynamic microphones are also good for recording acoustic guitars, but they tend to give a more “boomy” sound. My personal favorite is the nuemann u87 which I use on just about everything! My budget option pick would be the audio technica at5050!

Q: When recording acoustic guitar, where should I position the microphone?

A: Positioning your microphone correctly when recording will help get the best possible sound. Generally speaking, it’s best to place it roughly one foot away from the instrument and slightly off-axis (not directly in front), and also minimize background noises like air conditioners or traffic by positioning it away from windows or doors. Experiment with different placements until you find what works best!

Q: What is reverb and how do I apply it to my mix?

A: Reverb is an artificial effect used in music production that adds depth and space to sounds by creating reflections of certain frequencies. When applying reverb to your mix, it’s important not to add too much – otherwise it will muddle up your mix or become overpowering! You may want to consider using separate reverbs for different parts of the guitar track such as body, mid-range and treble frequencies to create a bigger sound with more depth. Additionally, adjust the parameters of your effect (such as size or decay time) according to how much space you want your acoustic part to have within the mix.

Q: How does delay differ from reverb when applied to an acoustic guitar track?

A: Delay is a time-based effect that adds a “echo” of the original signal by playing it back at different intervals. This gives the track a fuller, more expansive sound than what reverb would provide alone. Reverb on the other hand is a natural sounding effect used to emulate space and depth in music – it creates a smooth wash of sound without any obvious repeats or “echoes”. Generally speaking, reverb should be used for adding texture and atmosphere while delay can provide more distinct echoes and repetitions that can often be heard more clearly within a mix. Try out different settings until you find what fits your music best!

Q: What techniques can I use to mix acoustic guitars across different genres of music?

A: Mixing acoustic guitars can differ greatly depending on the genre of music you’re working with. For instance, folk and pop music may require more subtle and gentle effects while rock and metal might require more aggressive treatments. Start by thinking about what kind of sound you want to create – a bright, dynamic tone or a darker vibe? – as this will help determine your settings.

For more traditional sounding folk, pop or country tunes, try boosting the mid-range frequencies of your acoustic guitar parts while cutting some of the higher frequencies. This will give the guitar part a warm tone that won’t overpower the other instruments in the mix. Additionally, use a light touch when applying reverb or delay to these types of songs – too much effect will make it sound muddy.

For rock and metal mixes, start by cutting out unnecessary frequencies from your acoustic guitar track using an EQ. This will help keep the part from cluttering up the rest of your mix. An effective technique is to roll off high end frequencies (above 8 kHz) on chord strumming parts or fingerpicking sections as well as low end frequencies (below 200 Hz) for single note lines – this will help prevent any muddiness in your mix! Once you’ve cut out unwanted frequencies, you can begin adding distortion effects or amp simulations for added texture and drive. Additionally, try experimenting with longer delays to create big walls of sound around your acoustic guitars!

Finally, don’t forget that panning is key when mixing multiple acoustic guitars together – start by panning each track slightly away from centre before tweaking them individually until they sit comfortably in the mix!

Happy Mixing!

-Mattie