5+1 Gear Pitfalls to Avoid as a New Music Producer, Part II

Welcome back to the second part of our series on common pitfalls to avoid as a new music producer. If you missed the first part, you can check it out here. In this installment, we'll dive into more practical tips and essential advice to help you improve your recording and mixing processes, avoid common mistakes, and stay motivated in your music production journey.

Quality monitors are essential for making informed mixing decisions and improving your overall sound.

1. Don't mix with crappy speakers

The most important element of the recording chain is not your audio interface or microphone, but your ears. Using laptop speakers or consumer-grade headphones for mixing can be compared to driving with a dirty windshield or foggy mirrors. Decent monitors will not only allow you to make much better decisions regarding all aspects of the production, but using your studio monitors for regular casual listening will also sculpt your perception of what is considered good sound, exposing you to more nuanced audio. This practice will help you learn your monitors quicker and enhance your overall mixing skills.

When I first got into recording, more than twenty years ago, I bought a pair of 8" Behringer studio monitors which died rather quickly and then I moved to a pair of 6" Tannoys that I used for quite some time, an M-Audio interface and a Shure SM58 (because everyone was using those) and soon after an Oktava MK 012 as I realised that the dynamic mic would not cut it for classical guitar. In retrospect, all those were terrible choices for various reasons. The Behringer monitors, with all their faults, played a vital role in my infant days of recording. The alternatives I had at that time were 4.1 Creative computer speakers and a Pioneer Hi-Fi, both subpar of course.

Professional results come from careful recording, not just fixing things in the mix.

2. Abolish the "fix it in the mix" mindset

Use your resources and time to make all the right decisions to capture the best possible recording before you are ready to record your first take. Don't skimp on the details and hope that everything will work out in the end, or that you will be able to "fix it in the mix." Everything you didn't pay much attention to will show in your recording, and the chances are that you won't be able to fix it. Strive to get the best sound from the start to save time and achieve higher quality results.

3. Don't waste your time on editing; plan on being competent

Editing a mistake out of an otherwise beautiful take, or enhancing your recording by editing in one stunning note from another take, can add to your recording and is perfectly fine. However, creating what I call a Frankenstein-take by combining a bunch of takes might allow you to have a result without mistakes, but it will lack cohesiveness and overall direction. Recording phrase by phrase, similar to pop or rock production, will take all the life out of your recordings, even if you compile the most perfectly played song. This is classical guitar; be deliberate with your choices and execution. Document it to the best of your ability, and if you're still not happy, practice some more and redo the recording. Don't waste your time on excessive editing.

4. Don't neglect your room acoustics

Until you make meaningful changes to your room, your recordings won't get much better regardless of how much money you spend on gear. You don't need a professionally designed studio, but addressing basic issues with reflections using absorbers, diffusers, and bass traps in key places can drastically improve your recordings. Also, declutter the space; if you have too much stuff around, the sound in your room will never be great. A visually aesthetic room will also be more inviting, perhaps aiding in your inspiration.

5 - Take critique with a grain of salt

Listen to those with more experience than you, seek advice, and learn from the mistakes of others. However, if you have a strong feeling towards a particular idea, don't hesitate to see it through. The worst thing that could happen is you make a subpar recording. On the other hand, if your idea pans out, you'll feel like a genius, even if just for a couple of seconds.

Stay grounded in your passion and don't let the lack of immediate recognition deter you.

Bonus - Don't be discouraged if your music doesn't get the attention it deserves.

Even if your recordings are Grammy-worthy, the world won't necessarily notice them. Expecting your music to be received with grace can kill your appetite to get back in the studio the next time if it doesn't happen. Focus on the journey, the love of playing the guitar, and recording your music to save yourself from getting depressed. If you do get a Grammy (don't forget to thank me in your speech for all the invaluable things I share on the blog), that's a bonus, but it's not the primary purpose.

This is still hard for me, and I suspect it always will be to some extent. I try to remind myself that the joy of creating and sharing my music is what truly matters. I try to do my best, and when everything is done, it is out of my hands.

Conclusion

Remember, the journey of music production is about constant learning and growth. Embrace the process, stay motivated, and keep creating. Every recording session is an opportunity to learn and improve. Good luck, and enjoy the ride!

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What do you think about the points I'm making? Do you have any experiences or tips you'd like to share? Leave a comment below and let's discuss! And don't forget to check out Part I for more insights into avoiding common gear-related pitfalls.

A Comprehensive Guide to Gain Staging, Recording, Mixing, and Mastering Levels for Classical Guitarists, Part II

Part II - Mixing & Mastering Levels

Embarking on the musical voyage of recording classical guitar involves numerous steps, each with its own significance. We've previously explored gain staging and setting recording levels - fundamental processes that lay the groundwork for a pristine, high-quality recording. Our focus now turns to two intricate yet essential aspects: setting the mixing and mastering levels correctly.

The mixing phase is where we ensure each microphone used in capturing the performance is balanced and clear, contributing to a rich and harmonious soundstage. Following this, we dive into mastering - the final step that optimizes the recording's levels and tonal balance for various playback systems and streaming platforms.

In Part II of this series, we'll delve deep into the processes of mixing and mastering levels, providing insights to help you polish your classical guitar recordings to their fullest potential.

Mixing Levels

In the mixing stage, we blend and balance the individual elements of our recording. This stage is critical in ensuring the complete richness of the guitar is captured, with no aspect dominating the others. This balancing act becomes especially crucial when recording classical guitar, where we often employ multiple microphones to capture a comprehensive sonic image of the instrument.

Balancing the Multiple Microphones

During my recording sessions, I often employ multiple microphones, each positioned at different locations to capture a broad spectrum of the guitar's tonality. Each microphone contributes a unique facet to the overall sound, and blending these distinctive 'voices' is key to creating a robust and rich recording.

When using the AB Stereo technique, I often process both microphones together, maintaining the natural balance they create. However, it's not uncommon that I might apply additional EQ or other treatments to each microphone separately, if there is a problem that stands out.

M/S Stereo with Neumann TLM 193 & 170, each microphone gets different treatment

For more complex microphone arrays, I apply thorough care to each microphone, treating each channel individually. This might involve applying EQ adjustments or other processing to each track separately, to ensure they blend harmoniously together. For a classical guitar, I aim for a mix level of around -18 dBFS, with peaks no higher than -6 dBFS.

It's crucial to monitor each channel's levels, ensuring that none are too loud or overdriven. This helps prevent potential distortion and maintains the integrity of the recording, leading to a balanced and natural-sounding result.

Using Reference Tracks to Maintain Perspective

Working extensively on my mixes sometimes makes me overly familiar with the material, leading to a potential loss of objectivity. To counter this, I utilize reference tracks. These are, essentially, sonic benchmarks that guide me in crafting the depth, presence, and dynamic contrast of my guitar recordings. My advice is to make a list of your favourite-sounding classical guitar recordings and occasionally compare them to your mix.

While the aim is not to mimic these references, juxtaposing my mix with these standards helps regain perspective and fosters fresh insights. This practice ensures that my recordings can confidently stand alongside commercially produced tracks, adding an invaluable layer of quality control to the mixing process.

Preserving the Dynamics: Taming Peaks Without Sacrificing Expressiveness

Classical guitar draws much of its expressive power from subtle variations in loudness and intensity. To honour this characteristic, I strive to preserve the instrument's natural dynamic range as much as possible in my mixes, generally avoiding the use of compression, which can flatten these dynamics and yield an unnatural sound.

In some cases, however, a track may have rogue peaks that cause distortion. To prevent this, I turn to a limiter, specifically the FabFilter Pro-L2. This limiter tactfully reins in these peaks, maintaining the overall dynamic shape of the performance without introducing the potential adverse effects of compression.

High-quality studio monitors for accurate listening

There are exceptions, of course. If I'm faced with a subpar recording that needs salvaging, or if the classical guitar is part of an ensemble mix, I might cautiously introduce compression to help the guitar find its place among the other instruments. But for solo classical guitar recordings, my preference is always to allow the instrument's natural dynamics breath. The true beauty of the classical guitar, after all, resides in its subtleties and nuances.

Mastering Levels: The Final Adjustments to Your Classical Guitar Recording

Mastering is the last but certainly not the least important stage in music production. It's in this phase that we delicately adjust the overall levels and tonal balance of the mix, making sure it's polished and cohesive for listeners. In classical guitar recordings, mastering's primary goals are to ensure that the recording sounds its best across various playback systems and to prepare it for distribution on streaming platforms. While mastering doesn't drastically transform the recording, it refines it, solidifying its sonic integrity and ensuring it's ready for the world to hear.

Deciphering LUFS for Consistent Perceived Loudness

A significant aspect of mastering is understanding and correctly using LUFS, or Loudness Units relative to Full Scale. Unlike Peak or RMS levels, which measure the absolute values of audio signals, LUFS take into account the human perception of loudness. In other words, they measure loudness as our ears perceive it.

This is based on the fact that human hearing is frequency-dependent. We are more sensitive to some frequencies compared to others, especially in the mid-range. LUFS measurements integrate these psychoacoustic principles, providing a more accurate measure of perceived loudness. This ensures recorded music retains its intended impact, regardless of the playback scenario, providing consistency across different platforms and distribution methods.

Youlean Loudness Meter is an essential tool

A reliable loudness meter is a vital tool for effective mastering. My choice is the Youlean Loudness Meter, a free tool that's become an invaluable asset in my mastering toolkit as it provides accurate LUFS measurements, peak levels, and true peak readings, all crucial for mastering.

The Youlean Loudness Meter also gives us the ability to monitor the loudness over time, providing a clear, visual representation of the dynamic range throughout our recording. This information is crucial when making adjustments during mastering.

Aiming for Optimal Loudness

Mastering is not about winning a loudness war. Instead, it's about achieving a comfortable and consistent listening level that provides an enjoyable experience across various listening scenarios. I typically aim for a loudness level of -14 LUFS. In addition, I ensure that my recordings remain below -1dB True Peak. This practice avoids potential clipping and distortion, preserving the natural dynamics and integrity of the recording.

Striking the Right Tone, One Level at a Time

The journey towards a professional-sounding classical guitar recording is a meticulous one. It calls for a keen eye (and ear) at every stage of the process, from capturing a clean signal, through balancing your recording and mixing levels, to the final act of polishing your track through mastering.

But it not just about mastering the technicalities. It's a delicate dance between the science of sound and the artistry of music. We're not simply chasing perfect readings on a meter. Our true pursuit is to transpose the nuances, emotions, and soul of the performance into a recording that touches the heart of the listener.

A Comprehensive Guide to Gain Staging, Recording, Mixing, and Mastering Levels for Classical Guitarists

Part I - Gain Staging & Recording Recording

As we, classical guitarists, have ventured into the world of recording, we've faced the intriguing challenge of capturing our instrument's perfect sound. After meticulously learning about different microphones, mastering the art of microphone arrays, and optimizing our room for the ideal recording tone, we often feel ready to immortalize our masterpiece. Yet, beneath this readiness lies a vast universe of elements that we need to fine-tune to achieve an optimal recording. Among these, understanding gain staging, recording levels, mixing, and mastering levels is crucial.

While there's a plethora of information available on the internet, it can often feel like trying to find our way through an intricate maze, riddled with confusing technical jargon and conflicting advice. In light of this, I've decided to consolidate my personal insights, specific tips, and favorite tools into this comprehensive guide. My aim is to shed some light on these crucial aspects and assist you in capturing and polishing your classical guitar recordings to perfection.

dB Trivia

But first, we have to familiarize ourselves with decibels or dB. These logarithmic units are used to measure the intensity of audio signals. The world of digital audio can be treacherous if you're not careful - one misstep could lead to clipping or distortion, which occurs when the audio signal exceeds 0 dBFS (decibels relative to full scale). Attention to detail is pivotal. 

Recording Levels & Gain Staging: Laying the Foundation for a Great Recording

The journey to a great recording begins with understanding gain staging. Gain staging is a process that ensures a clean, distortion-free recording while leaving enough breathing room for further processing during post-production. This involves setting optimal levels of audio signals at each stage of your recording chain. In the context of home studios, this often involves just your instrument, an audio interface, and perhaps some ITB (In The Box) processing.

However, even in this simplified chain, ensuring good gain staging remains crucial. This starts with the sound of your instrument in the room. You'll need to ensure your guitar's sound is clear, resonant, and free from any unwanted noise or interference. Careful placement of the microphones is also key.

Each microphone and each placement will give a different color and character to your recording. When setting up my microphones, I experiment with different placements and distances. Finding the sweet spot is an art - it should capture the guitar's natural tone while minimizing room noise. Adjusting the distance and angle of your microphones can help control not only the tone but also the levels: too close and the sound might be overly loud or boomy; too far and the signal could be weak, leading to a noise-prone recording when amplified. Have a look at my Stereo Microphone Techniques for the Classical Guitar guide..

The next step in the chain is the audio interface. This is where the acoustic energy, the sound waves your guitar produces and your microphones capture, are converted into digital signals your computer can understand.

Your audio interface typically has preamps which amplify the microphone's signal to a level suitable for the Analog to Digital Converter (ADC). The gain knob on your interface controls this amplification. It's crucial to find the right balance here: a signal that's too weak may introduce noise when you try to increase the volume later, while a signal that's too strong risks clipping, distorting your guitar's natural sound.

Once gain staging is properly set, the next crucial part of the process is managing your recording levels. Recording levels refer to the strength or amplitude of the audio signals being recorded in your DAW. In other words, it’s about how loud the recorded audio will be.

For classical guitar, I aim for an average level (or RMS level) around -18 dBFS to -12 dBFS, with peaks not exceeding -6 dBFS. This ensures a healthy signal level without risking distortion or clipping. These values might not mean much if you're just starting out, but understanding them and using a metering tool to monitor your levels will make a big difference in the quality of your recordings.

For those of you who, like me, prefer to use an external preamp along with a separate ADC, the gain staging process involves an additional step but the principle remains the same. Using an external preamp like the AEA TRP2 or SPL Crescendo duo, allows for even more control over the tonal characteristics and the level of the signal coming from your microphones.

Once the signal is conditioned by the preamp, it then goes into a separate ADC, such as the RME ADI-2 Pro FS in my case, which converts the analog signal into digital. Adjusting the input level on the ADC is equally crucial as on the audio interface's preamp for those who use an integrated solution. The goal is the same - ensuring a healthy signal level without risking distortion or clipping, which for me is around -18 dBFS to -12 dBFS RMS, with peaks not exceeding -6 dBFS.

This might seem like an extra layer of complexity, but in my experience, the flexibility and control provided by separate high-quality preamps and ADCs can lead to even better results, and it's worth considering if you're serious about recording.

To sum up, good gain staging for a classical guitar recording involves capturing a clean signal from your guitar, through the air, into your microphones, then into your audio interface, and finally into your DAW. Each step requires careful attention, but with practice and patience, the results can be immensely rewarding.

Additional Tips for Optimal Gain Staging:

I mainly use Vovox Sonorous and Sommer Epilogue cables for a peace of mind

• Starting with a Clean Signal: The quest for the perfect recording begins long before hitting the record button. I ensure that my guitar is properly set up and my strings are in good condition to minimize extraneous noise and to allow for effecient dynamics.

• High-Quality Cables: Cables can often be overlooked, but they are a critical part of the signal chain. Investing in high-quality cables can prevent unwanted noise and interference in the signal.

• Room Acoustics: The room's acoustics can impact the recording significantly. A quiet and sonically balanced room can help ensure a clean, high-quality recording.

• Monitoring the Signal Chain: Vigilance is key throughout the recording process. By continuously monitoring the levels throughout my recording chain, I can prevent unexpected overloads or distortions and ensure the best quality recording.

Using Metering Tools for Precision

Youlean Loudness Meter is an essential tool

For those of us who want to be precise with our levels, I highly recommend using metering tools. One of my favorite tools is the Youlean Loudness Meter. This handy software allows me to monitor not only the loudness of my recording but also the dynamic range. The free version is good enough for most cases, and you can support the developers by purchasing the pro version which provides some additional features.

Maintaining Dynamic Control

Classical guitar's essence lies in its subtleties and nuances. Dynamics - the interplay between the quietest and loudest notes, crescendos, decrescendos - bring the music to life, allowing your listeners to connect more deeply.

When setting my recording levels, I always leave ample headroom for these dynamics, striking a balance so that the louder sections don't cause distortion or clipping and the quieter parts remain clear and noise-free. Remember, amplifying a quiet, clean recording is always preferable to fixing a loud, distorted one.

Additionally, transient details - quick, high-energy moments - require careful attention to avoid distortion or getting lost in the mix. Proper recording levels ensure these moments are accurately captured, adding to the richness of the final recording.

Striking the Right Tone

In conclusion, understanding and managing recording levels, along with proper gain staging, can make a significant difference in capturing a perfect performance. It can be the difference between a recording that sounds amateur and one that stands up to professional scrutiny. With careful attention to detail, patience, and practice, you'll be on your way to making recordings that you can be proud of.

Stay tuned for Part II of this series, where we'll dive deeper into the realm of audio recording as we explore the importance of levels in the post-production stages - mixing and mastering. This is where your carefully recorded tracks are polished into a cohesive, balanced, and compelling final product. Until then, happy recording!

Crafting Your Sound: Shaping Classical Guitar Recordings with EQ

Part I - High-pass, Low-Pass Filtering and Shelving EQ

Many guitarists - and I plead guilty - spend a lot of money on new equipment to improve the sound of their recordings. I'm not suggesting that decent equipment isn't helpful, but the truth is that it's certainly easier to buy new stuff than to learn how to make the most of what you already have. In this article, I'm going to focus on a cheaper and more effective way to improve the sound of your classical guitar recordings: EQ.

Equalization is a powerful tool that allows you to boost or cut specific frequencies in your recording, which can drastically change its overall tone and character. Mastering EQ can help you create recordings that bring out the unique qualities of your guitar and playing technique. Instead of constantly buying new equipment, invest in experiences that enrich your musical journey, such as attending concerts or workshops.

Disclaimer: No two Classical Guitars are the same

One of the beautiful things about classical guitars is that each instrument has a unique voice. No two classical guitars are the same, therefore it's essential to choose an instrument that complements your playing style and taste. Besides, different genres require distinct guitars to sound authentic. Take the time to experiment with a diverse range of guitars and find the one that feels and sounds right for you, as, without doubt, it will have the most significant impact on the final result of your recordings - after the guitarist. Likewise, every recording space is unique. Your room will impose its character on the recording, so before even pressing the record button, make sure that your guitar sounds the way you want in your room.

Disclaimer: No one-size-fits-all

While it's helpful to learn from other guitarists and recordings, it's unlikely that you'll get the same results by blindly copying EQ settings or microphone techniques. Instead, it's crucial to develop the ability to identify what EQ is doing to the sound and use that knowledge to shape the recording to your liking. This means listening closely, experimenting, and learning to trust your ears. As you become more familiar with how different frequencies interact, you'll be better equipped to make informed EQ decisions that complement your music.

Also, take a look at the Best Studio Monitors for Classical Guitar guide, as they are essential to make reliable decisions regarding EQ.

Everything should work in tandem

Having a clear artistic vision is essential when using EQ. For example, if you're aiming for an intimate sound, you'll want to choose a microphone placement and EQ settings that complement each other to create a warm and cosy tone. In this case, you may want to experiment with mic placement options that bring the microphones closer to the guitar and EQ settings that emphasize the low-mid and mid-range frequencies. Microphone choice is also critical, as overly analytical microphones or ones designed for free-field use would capture too much detail.

On the other hand, if you're going for a concert hall experience, you'll want to experiment with microphone placement and EQ that gives the audience perspective and create a sense of space and depth. In this instance, you may want to use a pair of microphones further away or employ multiple microphones to capture different aspects of the guitar's response. Then, use complimentary EQ to shape the sound as though your guitar was captured in a larger space.

To get some inspiration take a look at the Three-Microphone Setup for Recording the Classical Guitar.

Using High- and Low-Pass Filters

High-pass and low-pass filters should be the first things you apply, even before you make any other decision on how you want to EQ your recording. Ideally, if your preamp or microphone has a high-pass filter, you should engage it. A gentle roll-off of low and high frequencies will remove unwanted sounds and give you a cleaner recording. Additionally, you will be able to make more informed EQ decisions. In some occasions, no further equalisation is necessary to achieve a well-balanced recording.

For classical guitar, I always start with a mild high-pass filter at about 60Hz (-6dB/Oct) and a low-pass filter at about 18KHz (-6dB/Oct), and then I work from that. You may need to apply sharper high-pass filter settings if your room isn't as quiet and noises such as street rumble creep into your recording. You could either adjust your settings to a higher frequency, use a -12dB/Oct slope, or try both). Similarly, to eliminate some of the finger-moving sounds or chair squeaks, you might need to set a lower low-pass frequency and a sharper slope.

Make sure to find a balance between removing unwanted frequencies and preserving the natural character of the recording. Overuse of these filters can lead to an unnatural, thin sound.

Shelving EQ

Shelving EQ allows us to adjust the amplitude of all frequencies above or below a certain point and is another extremely effective tool in our EQ toolkit. It can be useful for creating a more balanced sound or giving a subtle shape to the recording.

For example, if you find that the low end of your recording is overpowering, you can use a low-shelf filter to reduce the amplitude of all frequencies below a certain cutoff point (usually around 200-250Hz) a couple of dB. Thus, effectively reducing low-end boominess. Conversely, if your recording sounds somewhat thin, a low-shelf filter boost of a couple of dB at around 125Hz should rectify that.

Furthermore, if your recording sounds too bright or harsh, you can cut frequencies above about 3.5 kHz by a few dB with a high-shelf filter. Or boost all frequencies above 8-10Khz if the recording lucks brilliance and air. Be especially careful when boosting high frequencies, because they can expose the poor sound of your room or your playing.

Tip - And while most guitarists don't really like boosing the high-end as this might emphasize mechanical sounds, I find that a subtle boost of frequencies above 2,5KHz in combination with a bit more potent cut of frequencies below 250Hz, under the right circumstances, result in a very classy sound. Provided the recording isn't too sharp or harsh and the playing is short of non-musical sounds.

My Secret Weapon: The FabFilter Pro-Q3

One of my favourite plugins for classical guitar recordings is the FabFilter Pro-Q3. Admittedly, not much of a secret if you have been here for a while (read the Three Most Essential Plugins for the Classical Guitar) . The Pro-Q3 offers precise control over the frequency spectrum with a range of filter types and is easy to fine-tune via the graphical interface.

To make my life easier, I have created a set of custom presets that I use as a starting point for different recording scenarios. These presets are designed specifically for classical guitar and can save me a lot of time when mixing. My custom presets pack “EQ Essentials” is available in the CGT store, so if you also have the FabFilter Pro-Q3, you could use my presets in your workflow. But it's important to remember that there is no one-size-fits-all solution and that you'll need to adjust them for your recordings.

Final thoughts

In conclusion, EQ is an essential and powerful tool for creating professional-quality classical guitar recordings. However, it's important to remember that EQ is just one part of the recording production. Don't underestimate the quality of your recording space and microphone placement. Keep in your mind, creating great recordings is a journey. With practice and patience, these guidelines can help you enhance the sound of your recordings and capture the beauty and nuance of the classical guitar.

In part II of this series, we will delve deeper into the use of Parametric EQ to further enhance your recordings. Parametric EQ offers even more precise control over frequency adjustments, allowing you to zero in on problematic frequencies and carve out a more refined sound. We'll discuss how to identify and address problem areas in your recordings and provide tips for using the parametric EQ to shape the sound of your guitar. And finally, in part III, we will explore some of the more advanced settings of FabFilter Pro-Q3. Stay tuned!

A Beginner's Guide to Home Recording for Classical Guitarists

Home recording technology has come a long way in recent years, and it's now easier than ever for classical guitarists to record high-quality audio from the comfort of their own home. If you are a classical guitarist looking to record your music at home, you may be wondering where to start. In this beginner's guide, I will go over the essential tools and techniques you'll need to get started with home recording for classical guitarists. From choosing the right microphone and recording software to setting up a recording space and editing and producing your tracks, I will cover everything you need to know.

Choosing the Right Equipment

The first step in setting up a home recording studio for classical guitar is choosing the right equipment. There are a few key pieces of equipment that every home recording studio should have:

1. Microphones: A good pair of microphones is essential for recording the classical guitar. There are many different types of microphones to choose from, each with unique characteristics. I often like to employ large diaphragm condensers for their low self-noise.

   Read the buyer's guide on the Best Microphones for Classical Guitar.

2. Audio interface: An audio interface is a device that connects your microphones to your computer, allowing you to record audio digitally. Besides, an audio interface allows you to connect your headphones and studio monitors.

   Read the buyer's guide on the Best Audio Interfaces for Classical Guitar.

3. Studio Monitors: Studio monitors are specialized speakers that are designed for use in recording studios. They differ from regular home speakers in that they have a relatively flat frequency response without boosting or attenuating any particular frequency. Studio Monitors are ideal for mixing and mastering music, as they allow you to hear the true sound of your recordings.

   Read the buyer's guide on the Best Studio Monitors for Classical Guitar.

4. Headphones: Headphones are an important part of any home recording setup, as they allow you to hear all the nuances in your playing and recordings. I prefer open headphones for mixing, editing and music listening, while closed headphones are necessary if you want to do overdubs.

Setting up a Recording Space

Once you have the necessary equipment, the next step is to set up a recording space that will allow you to produce high-quality audio. Here are a few things to consider:

1. Acoustics: The acoustics of your recording space will have an immense impact on the sound of your recordings. A room with decent acoustics will produce a balanced and natural sound, while a room with poor acoustics can produce a boomy sound and introduce flutter echo to your recordings. To improve the acoustics of your recording space, you can use acoustic treatment products such as acoustic panels, bass traps and diffusers to absorb or diffuse sound waves.

   If you are on a tight budget, you can read my post on Three Ways to Improve your Recording Space Without Spending Any Money.

2. Organization: Keep your recording space organized and ready to use at any time. This means having all your equipment in position and easy reach, so you don't have to spend time searching for things when you want to record. Furthermore, a cluttered and disorganized space can be distracting and make it difficult to focus on your playing. By setting up your room in a functional and organized way, you'll be able to focus on your playing and create better recordings.

3. Lighting: Good lighting will set the mood and create a comfortable practising recording environment. Natural light is usually the best choice, but if you don't have access to natural light, you can use artificial lighting to create a similar effect.

Getting Started with Recording Software

Once you have your equipment and recording space set up, the next step is to choose recording software. There are many different options available, ranging from free software with basic features to professional-grade software with advanced capabilities. Some popular DAW (Digital Audio Workstations) for recording classical guitar include:

1. Audacity is a free, open-source recording software popular with many classical guitarists. It offers a range of basic recording and editing features and is easy to use especially for beginners. 

2. Apple GarageBand is a digital audio workstation that comes pre-installed on many Apple computers. It offers a range of basic recording and editing features and is suitable for beginners.

3. Apple Logic Pro is a professional-grade recording software widely used by music producers. It offers a wide range of advanced features and includes the most complete library of virtual instruments and a comprehensive set of plugin effects of any DAW.

4. Steinberg Cubase is another professional-grade recording software and a great alternative to Logic Pro if you are a Windows user. Cubase Elements is powerful enough for most classical guitarist applications and is affordable for those just getting started on recording.

Recording Techniques

Once you have your equipment and software set up, you are out of excuses; it's time to start recording! Here are a few tips for achieving the best sound from your classical guitar recordings:

1. Experiment with microphone placement: The position of the microphones relative to the guitar will have a huge impact on the sound of your recordings.

   For a detailed description of various microphone techniques, read my post on Stereo Microphone Techniques for the Classical Guitar.

2. Set up the gain on your audio interface: The gain control on your audio interface determines the level at which your guitar is recorded. Set the gain to a level that avoids clipping (distortion) or a weak signal. Set the peaks (loudest parts) to reach around at around -6dB, so that you'll have plenty of headroom.

3. Have the right mindset for recording: An often overlooked aspect of the recording is the mindset and mood you bring to the recording. Be relaxed and focused when recording, so that you can capture the best performance possible. Take breaks as needed to ensure that you are feeling fresh and energized.

   For more suggestions, read my post on 5+1 Things You Should Do Before You Press the RECORD Button, from the perspective of a Classical Guitarist.

Editing and Producing Your Recordings

Once you've recorded your classical guitar tracks, the next step is to edit and produce your recordings to create a professional-sounding final result. Here are a few things to consider:

1. Be conservative with editing: Editing audio has become pretty simple, but too much editing makes your recordings end up sounding lifeless. 

2. Use plugin effects wisely: While it's necessary to use EQ and Reverb plugins to fine-tune your recorded sound, create the right mood for your music, and enhance the sound of your tracks. Try not to overprocess the recording. Aim for a natural sound for your solo classical guitar music. For further information on plugins, read my post Three Most Essential Plugins for the Classical Guitar.

3. Set the levels correctly: Make sure that the volume of your music is loud enough but doesn't clip (distort) the outputs. Leaving about 1 dB of headroom is a good practice.

4. Exporting your music: When you're happy with your produced recordings, it's time to export them as a final audio file. Make sure to save your tracks in a high-quality format, such as WAV or AIFF, to preserve the sound quality of your recordings.

Conclusion

In conclusion, recording your music at home can be a rewarding and fulfilling experience, and it's easier than ever to get started with the right equipment and software. By following the tips and techniques outlined in this guide, you'll be well on your way to creating recordings you can be proud of.

Best Reverb Plugin for Classical Guitar

Classical guitar performance is meant to be experienced in a natural space; the player, the guitar, the room, and the audience summon an ensemble and create a unique contract. As recordists, we aspire to capture such magical moments, but we don't always have the luxury to operate in fantastic-sounding spaces. As producers, we sometimes record in our homes or bland-sounding studios, in such occasions, the use of artificial reverb is unavoidable.

For a decade or so, I've been a happy user of 2CAudio's reverb plugins, Breeze at first and then Aether, as you can read in my post for the Three Essential Plugins for Classical Guitar. However, I recently got a MacBook Air M2 (review coming soon), and these plugins are not yet compatible with Apple's processors. Thus, although I'm still pretty satisfied with the results I got from both Aether and Breeze, I have to find their replacement. 

Note: As I learned after starting this test, Logic can run x86-x64 plugins natively and without having to setup Rosetta. Possibly with a hit on the CPU, but this should only become appartent on more heavy projects that solo classical guitar recordings. This fact make the need to find new plugins a but less imminent. 

After an initial market research, I downloaded trial versions of all plugins that caught my eye and are compatible with apple's silicon. Testing software with so many variables can be intensive, therefore I spent enough time with each plugin to understand its interface and try to make it work for my taste and needs.

The reverbs I tested this time:

• Neunaber WET Reverberator

• Strymon BigSky

• Universal Audio Lexicon 224 Digital Reverb (Spark Native)

• Universal Audio Pure Plate Reverb (Spark Native)

• FLUX IRCAM Verb v3

• Apple Chromaverb

• RELAB RX480

• RELAB RX480 Essentials

• FabFilter Pro-R FLUX IRCAM Verb v3 

• LiquidSonics Seventh Heaven

• TC Electronic VSS4 HD Native (Non-compatible with Apple ARM Processors)

• 2CAudio Aether (Non-compatible with Apple ARM Processors)

• 2CAudio Breeze2 (Non-compatible with Apple ARM Processors)

My final assessment of the usefulness of these plugins is asserted not only on sound quality, ιntuitiveness and adjustability play a minor but meaningful role.

My least favourite reverb plugins

Neunaber WET Reverberator

No matter how much I tried, I couldn't make the Neunaber WET Reverberator Plugin sound decent enough for my uses. I wanted to like the sound, as the WET pedal, that the algorithm originates, is quite popular among electric and flamenco guitarists. In all settings, there is always some chorusing on the reverb tail that I couldn't remove, and the space doesn't sound realistic, natural or with a desirable sound signature.

The price of the WET Reverberator Plugin is reasonable, but considering that there are a few plugins at a similar price (especially during sales), besides the decent sounding free plugins included with most major DAWs, I cannot recomended it even for those on a tight budget.

Strymon BigSky

Another plugin ported recently from a pedal with an almost cult-like following is the Strymon BigSky Plugin. I was looking forward to testing it, however the experience was underwhelming. Not only the sound quality of the Room, Plate and Hall algorithms was not on par with the other reverbs of my test, but the tweakability was also pretty limited. Perhaps the other algorithms included could justify the high praise and price, but for classical guitar, the sounds were not convincing enough. Thus, another hard pass unless you are looking for shimmer reverbs for your classical guitar.

Apple ChromaVerb

The last of the three not-good-enough reverb plugins is Apple’s ChromaVerb, which is included in Logic's vast plugin collection. The UI is much more intuitive than the "pedal" plugins, and getting a usable sound was not that hard. As expected, the ambience created by the ChromaVerb pales in comparison to the most sophisticated reverbs of the test; it lacks finesse and sounds more like an effect than a realistic space. But given that this is a free option, the results were better than expected.

The good but not-for-me

LiquidSonics Seventh Heaven

Another plugin that seems to be loved by many producers is the LiquidSonics Seventh Heaven. LiquidSonics claims to reproduce the algorithms of the acclaimed Bricasti M7. I have never used the M7 in person, so I cannot confirm or deny this. What I can back up is that the Seventh Heaven has a rich and refined sound, and I can see why it is so popular. The interface is pretty modern and intuitive, I was able to get a sound I liked right away. After comparing it to some of the other plugins though, I concluded that it sounds a bit too polished and generic for my taste. It is worth noting that the Seventh Heaven is the only convolution-based reverb of the test.

Moving on, a reverb plugin that will satisfy those who want extreme control over how the space sounds is the FLUX IRCAM Verb v3. The Verb v3 creates the most realistic-sounding room recreation of the bunch, and could be perfect for film production or other uses that realism and accuracy are desired. In addition, the control the UI provides is pretty phenomenal. I needed some time to get to know how every parameter affects the sound, but after a while, the somewhat uncommon layout made total sense, and I was pleased by how much control the Flux plugin offers. Soundwise, the IRCAM reverb lucks a bit of musicality and elegance for solo classical instruments.

FLUX IRCAM Verb v3

A utility reverb plugin

One of my favourite plugin developers is FabFilter. I really like how powerful their various plugins are, love the clean and pristine sound quality, and appreciate the modern and intuitive UI. I own their Mastering bundle and use it almost every day. 

I downloaded the trial version of the Pro-R when it was released a few years ago and did enjoy the user interface and sound, but not enough to change the 2CAudio reverbs I have been using almost forever. This time, I got to play more with the Pro-R and even used it in the production of my latest release: 'Will Have Been'. It is a very intuitive and capable reverb plugin, not my favourite sounding of the bunch but very useful and easy to use. So, I'm debating getting it now or waiting for a sale, but FabFilter's Pro-R will definitely find its place in my collection.

FabFilter Pro-R

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Rent or own

Universal Audio Lexicon 224

A reverb plugin I was happy to see released in native format - without requiring the expensive dongle that is called Apollo - is Universal Audio's Lexicon 224 Digital Reverb. Universal Audio has the resources to create some great plugins, but some of the hype comes from the fact that they were only available through their DSP-powered interfaces. That was perhaps necessary a decade ago, but computers today are so powerful that this business model makes little to no sense. With the release of Spark Native, Universal Audio seems to have realised that. 

Universal Audio Pure Plate

The Universal Audio Lexicon 224 Digital Reverb sounds musical and manages not to get in a way. Besides, lots of attention has been given on the UI, which looks beautiful but is a bit limited. The Pure Plate reverb sounded perhaps even more musical, albeit less natural for solo classical guitar. 

I liked both reverbs from Universal Audio, but if there is one thing I hate more than USB dongles is the subscription model for software - an argument against using Adobe apps as well. Now, $149,99 a year for all the Spark Native plugins is not so bad. But, considering that I don't have any use for any of the other plugins, I decided to cancel my subscription at the end of the trial period and reevaluate later.

Early reflection goodness

When I first got into recording, personal computers were not powerful enough, and native plugin offerings were pretty limited. For that, I used to own a TC Electronic Powercore unit and loved the TC VSS4 algorithm. The Powercore was much of a hustle later on for me to keep using it, and native plugins became capable enough, so I parted ways with it. TC Electronic released the VSS4 HD Native plugin, and although it is not compatible with apple silicon yet, including it in the comparisons can only be constructive. 

TC Electronic VSS4 HD

The VSS4 HD sounds pristine and lush, with some of the most realistic early reflections. It makes any recording sound somewhat more three-dimensional. Oher algorithms may sound more pleasing for longer reverbs, but the VSS4 HD is hard to beat for short realistic reverbs. 

Vintage vibes

RELAB RX480 v4

One of the best-sounding reverbs of the bunch is the RELAB RX480 Dual-Engine V4. It is supposed to be sample-accurate dual engine recreation of the legendary Lexicon 480L. I cannot confirm or deny the claim as I never had the pleasure to listen one in person. The RX480 is truly stunning with its plush, thick sound. A more modern UI could make the RX480 more straightfoward, as the LARC-type graphic control would make more sense to those with experience with the original Lexicon units, but I could live with that. It is much more impreesive than the UAD 224 Reverb and sounds more pleasing to my ears. The Random Hall algorithm especially is impeccable. 

Moreover, RELAB has a lighter version, the RX480 Essentials, which packs the same basic 480L sound with a less overwhelming UI and at a burgain price for what you get.

The familiar

2CAudio Aether

I purchased the 2CAudio Breeze several years ago, then moved on to the Aether. I'm using both plugins it tandem sometimes; the Breeze for a more natural space and Aether for a thicker sound. Both plugins are exceptional, with first-rate sound quality and offer plenty of control. I was so pleased with this combination that I stopped looking for other reverbs. I somehow also missed trying the Breeze2 when it got released. 

As it is obvious, I'm used to the sound of these plugins. I downloaded a trial version of Breeze2 to conclude this comparison. Both 2CAudio plugins sound admirable, with the Aether being the most versatile, especially for those who are also into sound design. But I was particularly surprised by the Breeze2. The placement of the solo classical guitar in space is very realistic and offers lots of depth. The Breeze2 sounds lush without sounding as much as an effect or too sterile as some of the other plugins. 

2CAudio Breez2

Although it is not yet compatible with the Apple ARM chips, and perhaps there never will be. Given that I already had the first version, the update to the Breeze2 was inexpensive for me, so I didn't give a second though. Unfortunatelly, due a dispute at 2CAudio, the future of the company is currently uncertain. So, I cannot recommend either one, at least for now.

Some thoughts on convolution reverb

I've tried convolution reverbs in the past and had determined that they don't work for me, but I thought that this time might be different perhaps. In addition to Apple's Space Designer, I downloaded the Inspired Acoustics Inspirata Silver and HOFA IQ Reverb v2. As much as I wanted to like them, I never got them to blend well with the dry tone. Admittingly, impulse respneses sound very natural and realistic, but It always sounds like a cross-fade of room ambience and classical guitar layers than an instrument in a room. Furthermore, the IRs tend to get a bit weird whenever I am pushing them. I understand that the results rely on the specific IRs, but I get satisfying results with algorithmic reverbs to investigate convolution reverbs further at this time.

Conclusions

If who don't have a problem with subscriptions and might have uses for the other UAD plugins, the Spark Native is hard to beat. For a versatile reverb with a clean but superb sound, the FabFilter Pro-R ticks all the boxes. Lastly, for vintagey charachter and thicker reverbs, the RELAB plugins are outstanding. 

For me, the Breeze2 will replace the original Breeze for realistic but musical sounding spaces, and the LX480 will replace the Aether for characterful reverbs. And, I’ll keep an open spot for the FabFilter Pro-R.

Best Type of Microphone for Recording the Classical Guitar

One of the most usual questions I get asked is which microphone is the best for capturing the classical guitar, but as with all deep questions in life, I'm afraid there is no simple answer. Our guitars, nails as well as playing techniques differ vastly. Besides, our rooms have unique properties, and of course, our tastes vary. Another decisive factor is our listening environments, but that's a subject for another day.

I've written on Classical Guitar Tones extensively about the different microphones, brands and models. If you have been here for a while, you've seen me test all sorts of microphones, entry-level to high-end. In this article, I take a step back and present my thoughts on the different types of microphones, their strengths and weaknesses. Plus some words on the different polar patterns.

On being passive 

Ribbon microphones have a relatively simple design with no active circuitry and use a thin metal ribbon suspended in a magnetic field. Most ribbon designs hear sound bi-directionally and produce natural and complex recordings. They have the reputation of being fragile and need careful handling and storage.

Dynamic microphones are similar to ribbons as both capture sound by magnetic induction. In contrast, they are very robust, resistant to moisture, and have low sensitivity. In practice, they offer no real asset in classical guitar recordings as their advantages benefit mainly on-stage use and capturing of loud sources.

For the most part, I don't get along well with ribbon or dynamic microphones, mainly because of their sensitivity or lack of. I often play soft passages or employ silence in my music, and with passive microphones, one has to crank the gain on the preamps to get sufficient levels, resulting in unwanted noise. After all, the classical guitar is a soft and delicate instrument, and no matter which preamps you use, it is impossible to get noiseless classical guitar recordings with passive microphones.  

Ribbon microphones are also quite forgiving to the various mechanical "non-musical" noises, such as nail and fretting sounds. And this is why some people love them, especially on harsher and louder instruments and a less subtle repertoire. But, I find the response of most but the finest ribbon microphones, principally with the thinnest ribbons (some Royer, AEA, and Samar makes come to mind), quite sluggish.

Phantom power required

Nowadays, there are a plethora of active ribbon microphones, purposed for capturing softer sources and being less dependent on the preamp choice. These tend to work better with classical guitar. Yet, even high-end active ribbon microphones are far from being noiseless. I understand that for some people noise is a nonissue, but for me, it is a distracting element. I like deep blacks and hate when the softer parts or rests are being washed away by preamp hiss.

Also, the figure-eight polar pattern found in most ribbons makes them less than ideal for many recording situations. They do work nicely as a side microphone in an M/S stereo array.

Capacitors move the (recording) world

Condenser microphones require a power source to function and generally produce a high-quality audio signal mainly due to the small mass of the capsule. They can capture on tape utmost detail, sometimes even too much of it, and are the most used transducers in recording sessions and concert halls. 

Most of the classic designs have been either tube or transformer equipped condensers, but with the dominance of digital recording, transformerless solid-state condensers have increasingly gained popularity in classical recordings for their additional clarity and lower self-noise.

Size matters

Condenser microphones are categorized by the size of their diaphragm and come in two main types: small-diaphragm, like most Schoeps' and the Neumann KM184, and large-diaphragm, like the Neumann U87 and AKG C414.

So, which one is better for the classical guitar, you may ask? Not so fast. Again, the answer is not straightforward. 

Let's talk first about their differences.

Small diaphragm condensers are usually more accurate, with a faster transient response and superior off-axis response. They are also smaller and lighter, so they are easier to carry, besides being visually unobtrusive. The latter is a decisive factor in why SDCs dominate the concert world.

Paying audiences generally don't enjoy seeing a stage the musicians surrounded by several dozens of microphones and bulky heavy-duty stands to support them. Neumann, Schoeps and DPA provide small-diaphragm condenser systems with every possible polar response and mounting option a classical sound engineer might on location.

Polar patterns say more than you think

The downsides of using SDC's on a classical guitar, especially at home, are only a few but nontrivial. Small-diaphragm condensers are tuned for specific roles. Directional microphones are either purposed for close spots on soloists, used in combination with a stereo array at some distance, or for the main pickup and thus are tuned to compensate for the high-end frequency loss that occurs. The result, when used inappropriately, is either a poor low-end response or hyperrealistic recordings with exaggerated high-end. In other words, they can easily sound thin and harsh.

On the other hand, SDCs with an omnidirectional response (the real microphones), especially those that have been tuned for the free field, offer an optimal response at both ends of the spectrum. Additionally, they provide greater flexibility in positioning owing to the absence of proximity side-effects but become a challenge to use in non-treated rooms that universally suffer from early reflections and standing waves.

Microphones with wide- or sub-cardioid polar characteristics come to close the gap, with a better low-end response than their cardioid cousins, some room rejection, and sometimes less pronounced high-end. Unfortunately, small-diaphragm cardioids with such polar patterns are rare, and except for the bargain Line Audio CM3 / CM4, they are always on the expensive side.

So, where does the good old large-diaphragm condenser fit?

Generally speaking, LDC's suffer from a pronounced proximity effect, transient smoothing and suboptimal off-axis colouration. In addition, they require sturdier stands, are more difficult to position due to their size and weight, and can be quite visually intrusive in videos.

All these intricacies cannot be good, right? Moreover, excellent sounding large-diaphragm condensers suitable for the classical guitar are quite rare and expensive, as most LDC's are targeted for vocal pickup.

Any advantages?

As I wrote above, noise on a recording can be distracting. The smaller the size of the capsule, the greater the self-noise of condensers. Tube and transformer-based microphones are also subject to higher noise levels. Therefore, transformerless large-diaphragm condensers have lower noise to signal ratios, with several Gefell, Austrian Audio, and Neumann models reaching nonexistent self-noise figures.

Likewise, many universal studio LDC's grant additional flexibility, as they bring multiple polar patterns, removing the need to own or carry multiple microphones or capsules on a session. With a modern microphone, like the excellent and most versatile Austrian Audio OC818, you can not only choose on the fly between any possible polar pattern, but you can also do it long after the recording has been completed.

Here is my recording of Debussy’s Prelude VIII. Recorded on location with a pair of Austrian Audio OC818s.

Let's proceed to checkout.

One can make a good recording with any decent microphone, some experimentation and post-production skills to boot. There are no excuses for bad recordings in 2022.

On a budget, neither ribbon nor large-diaphragm condenser microphones of decent quality can be found as cheaper offerings are made either for a vintage vibe or vocalists in mind. Line Audio's small-diaphragm condensers are the undenied kings of the entry-level recording setup.

When searching for a high-end classical guitar recording setup to capture a world-class guitarist with a magnificent guitar in an excellent sounding room, a pair of exceptional and well-positioned omnidirectional or somewhat directional condenser microphones is hard to beat. DPA, Gefell, Austrian Audio and several high-end Neumann condensers come to mind. In such a scenario, the size of the diaphragm is incidental. With less ideal conditions, even high-end SDC's on a solo classical guitar, be it directional or not, can expose flaws and produce unattractive recordings. 

To conclude, in most situations I favour large-diaphragm condenser microphones for their inherent sound qualities and noiseless behaviour. First-class LDCs can produce a luxurious recording and provide a pleasant listening experience. I also like how they look on videos; unapologetic, proud and predominant, almost commanding. With that said, the realism that some of the best SDCs treat the listener when every element is exemplary can be breathtaking.

Perhaps it is more advantageous to bring together small- and large-diaphragm condensers in an elaborate three- or four-microphone array.

5+1 Things That Will Improve Your Classical Guitar Practising

In the first part of Things That Will Improve Your Classical Guitar Practising, I touched upon adopting new habits that can boost your efficiency. The second part elaborates on the importance of being mindful in your routine.

Time is of the essence.

Music is organised sound in time. As audiences, we experience a musical performance as it unfolds linearly; one moment leads to the next. We give meaning to the notes not only by what surrounds them and is heard concurrently but also what precedes and follows.

Listening to music is a highly complicated process. Although we are intuitively tuned to understand shifting emotional states conveyed by pitches and rhythms, a well-defined sense of beat is necessary as it seems to be conformity between musicians and listeners amongst all different cultures. 

In other words, no matter how diligent was the composer when choosing the right notes and rhythms if the performer doesn't support them boldly; in that case, the music suffers.

When it comes to keeping time, the metronome is the best friend you ever had; it will never lie to you and will make sure that you respect time.

Use the metronome in your daily practice. Make sure that you understand the rhythms that the score presents to you. The key word here is understanding; solo performances don't always need to be metronomically precise. Perfect executions, metronomically speaking, depending on the style, can be uninteresting. But, if you don't learn to perceive rhythms accurately your audience will be left confused.

So, remember to keep a balance of practising with and without the metronome. Eventually, you'll need to learn how to let the phrases breath as well.

Stand on the shoulders of giants.

Sir Isaac Newton famously wrote in 1676 "If I have seen further it is by standing on the shoulders of Giants". Music might not be astronomy or mathematics, but the tradition is a well established one.

Through the aeons, teachers play the role of passing wisdom from generation to generation. And, in the age of information, books, forums, videos and blogs can give us additional insights into the music we pursue to master.

While we can take advantage of all those options simultaneously, with the danger of being overwhelmed, I would argue that nothing has more value than claiming the information ourselves. A century of recorded music gives us access the judgement, observations and vision of the great masters.

It is imperative to listen to music carefully, lots of it, various performers and interpretations. Analyse and criticise it; ask questions. Try to understand why they make the choices they do; what works, what doesn't and why. Make notes, then try to apply some of your findings to your playing.

Know thyself. Or at least try.

Psychological research suggests that we are not very good at evaluating ourselves accurately; we frequently overestimate our abilities. This is known as the Dunning-Kruger effect. The less we know, the more we think we understand; and musicians are no exception.

No matter how many times your teacher points out that your rhythm is way off, it's extremely hard to evaluate yourself objectively in real-time. Additionally, it is impossible to fix performance issues before you understand what these issues are. It is a process.

Thankfully, in our technological world, it is possible to shorten the gap between how well we think we play and how we do sound. To stare directly in the mirror and observe all our faults. We achieve that by recording our performances regularly and then listening critically. The emotional distance that is granted by becoming the audience allows us to review our playing slightly more objectively. And as we keep exercising this muscle of critical listening, we eventually learn to do it in real-time, at least to some extend.

And no, you don't need to set up a home studio, even a simple audio and video capture with your phone can have a similar effect. Admittingly, investing in some recording gear won't hurt; a pair of decent microphones and a good headphone.

A chat with the composer.

Most of the classical guitar repertoire was composed long before we were born, by composers that are not around anymore. But even for our contemporaries, we rarely have the chance to have a one on one chat about their works and intentions. In either case, they have grand us with something almost as good; the music score.

When you study a new piece of music, don't just read the notes. Study the harmonic implications, the motives, the rhythms. Break down the composition to its elements, see how they connect, ask what their purpose is. Try to understand what is their function in the micro and macro context.

Additionally, read the biography of the composer, learn about major influences, life and period. Be interested and get personal. This in-depth research is utterly inspiring and may lead to musical revelations.

Understand the notes.

"Music is a language", how many times you have heard or repeat that phrase? Well, I believe that most people don't truly understand what it means.

The most common reading of that phrase is that music can affect our feelings universally across all cultures, meaning that we can detect happiness and sadness even in unfamiliar music idioms. While that is not wrong, it doesn't even touch the surface of what makes music a fully grown language.

Pitch, tempo, rhythm, and dynamics convey shifting emotional states. In Western music, harmony gives us information about the hierarchy of pitches, their tendencies and their meanings. Even if we don't formally study music, we learn to intuitively understand these nuances by an early age with nursery rhymes, cartoon music, songs in family gatherings, etc. But, every culture has its music, and each has a language.

Study common practice harmony, study contemporary composition techniques, learn the peculiarities of different periods, learn the specifics of the culture that you come from, be interested in other traditions, and diverse musical genres. After you learn the basics, dive deep into things that got your attention, then study wide and repeat. 

Be interested in the tradition; in consequence, your playing will become more engaging and individual.

Destination.

Guitar playing is one of those things that you cannot stay still; if you stop pushing forward, you roll backwards. It takes a lot of hard work and discipline only to keep one's technique, let alone advance. Although you can set goals for yourself, there is no real destination. The journey is the reward; Music is a lifetime pursuit after all. So, don't be anxious, don't rush, enjoy every step of the way.

Stereo Microphone Techniques for the Classical Guitar

Stereo recording is the technique that involves two microphones that due to the captures the time differences of sound waves coming from a source, which gives depth and space to the recording. Similar to how our ears and brains record and process sound.

The Classical Guitar, albeit small, is an instrument with a complex sound and subtle peculiarities; and as such, it sounds better when is captured in stereo. Various stereo recording techniques have been developed since the early 1940s; each with distinct advantages and disadvantages.

If you ask, which is the best microphone technique for capturing the classical guitar in stereo, I'm afraid that the answer is not so simple. Room size, acoustics, the instrument, and the purpose of the recording, play a significant role; as well as our individual preferences. 

In this article, I describe the most common stereo techniques from the point of you of a classical guitar recordist. I discuss their strengths and weaknesses, as well as prefered uses for each setup. 

Note: This article is a work in progress; X/Y, M/S, and NOS setups will be added in the following weeks.

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Spaced Pair Setups

AB Stereo

AB Stereo Array

The AB Stereo recording technique is based on a pair of spaced Directional or Omnidirectional microphones and provides in a pleasing and accurate capture with useful spatial information.

For home recordings, AB Stereo is one of the best options as it is easy to implement and get a consistent sound. A pair of Cardioids is usually preferred as they can successfully attenuate the room ambience. 

Omnidirectional microphones capture the true low-end of the instrument though and have no proximity effect. You can position them closer to the source in a small room, or further away if the acoustics allow.

Application

Use a (minimum) distance of 20cm between the microphones for the most natural result. You can use a greater width, as the distance from the instrument increases, for a wider capture. I prefer a width between 30 and 40cm, for small/medium rooms, and up to 60cm for large halls.

If you position the AB Setup close to the guitar, you should avoid placing any microphone opposite to the soundhole, to prevent boominess. A microphone on each side of the soundhole will give the most balanced sound, off-axis towards the fretboard for more articulation or opposite of the bridge for a fuller sound.

The microphones are most commonly parallel to each other; but, since most microphones show a degree high-end directivity, we can fine-tune their response by angling them on the horizontal plane. If you aim them slightly outwards, you can attenuate some of the unpleasing mechanical noises of the guitar (fretting noises, squeaking, nails, etc.) You can also angle them slightly inwards to reject some of the room reflections.

The directional information as captured by an AB Stereo is not as accurate as of the coincident and near-coincident setups. This attribute can be an advantage if the performer moves a lot and assists in avoiding off-balanced results. I hardly ever pan the channels hard left and right, to preserve the integrity of the central image of the classical guitar.

The biggest drawback of the AB Stereo is its leaser compatibility with MONO playback (for example, a youtube video played on a smartphone); as a result, comb-filtering may be introduced.

Suitable Polar Patterns: Omni, Cardioid

Advantages

• Easy implementation

• Pleasing sound

• Useful spatial information

• Control of room ambience

Disadvantages

• Playback in MONO may introduce comb filtering

• Not the most accurate directional information

And here is a real-world example of the use of AB Stereo on Classical Guitar in a professional setting. I used a pair of Austrian Audio OC818 microphones set in a Custom Polar Pattern that combines the best of Cardioid and Omni qualities. The spacing of the microphones is 26cm. The goal was to capture the pure tone of my Angela Walter guitar together with the incredible sounding main hall of the Musikbrauerei in Berlin.

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Near Coincident Setups

ORTF Stereo Technique

ORTF Stereo Array

Developed in the 1960s by the Office de Radiodiffusion Télévision Française, the ORTF is a stereo microphone configuration that with the use of two near coincident Cardioid microphones mimics the human ears.

The spacing of 17cm and 110° angle emulate respectively the distance between our ears and the shadow effect of the human head. The result is a realistic depiction of the sound field, both in directional and spatial areas, as well as a reasonable Mono compatibility.

Application

A pair of first-order Cardioid condensers is required for a proper ORTS, 17cm between the capsules and 110° angle. Other directional patterns can be used with respective changes in the width; for example, Schoeps suggests a distance of 21cm for the MK22 Open Cardioid capsules. You can also adjust slightly both the spacing and angle for the best sound.

The most critical aspect of ORTF is to balance the direct and diffuse sounds, as there is not much you can do in post-production afterwards. As always a minimum distance of 50cm is advised to avoid boominess, but I have had better results with a distance of 80cm to 110cm. At greater distances, a low-end boost might be required to compensate for the loss of low-end of directional microphones.

The ORTF main application is for large-scale sources, like orchestras and choirs. If positioned in a close distance, you might experience loss of focus with a perceived hole in the centre.

Consequently, depending on the room acoustics, the ORTF stereo array may be proved problematic in a home recording setting. As you might either have to place the microphones further away from the instrument, capturing the unattractive ambience of a small room, or suffer a smeary sound if you position the array closer.

Suitable Polar Patterns: Cardioid

Advantages

• Realistic stereo field

• Reasonable Mono compatibility

Disadvantages

• Perceived Hole in the middle and loss of focus if positioned close to the source

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Coda

Distance

The distance of the microphones to the source depends purely on the room size, the instrument, and the setup. As a rule of thumb, keep it smaller than that of the microphones to the front and side-walls. But never closer than 50cm.

Directional microphones have a sweet spot where the proximity effect eliminates, and the low-end frequency response becomes linear. If the microphones are not in the ideal position, you might need to apply a Low-Shelf EQ (boost or cut). Omnidirectional microphones have a better low-end response regardless of the distance but capture sound from all directions. So, be careful not to end up with an overly roomy recording.

Height

Most classical guitarists angle their guitars somewhat upwards to push the sound further back (and fill a concert hall). Correspondingly, the height of the microphones depends mainly on the distance to the guitar. The closer they are to the instrument the lower they need to be. If you place the microphones further away from the guitar, they need to be higher to retain definition and accuracy.

The sound travels as an impulse rather than a beam though, so there is some room for experimentation. If you prefer a fuller sound, you can position the microphones slightly lower. Contrarily, you can increase the clarity if you put the microphones higher. Use your ears and taste.

Vertical Angle

You can also exploit microphone angles in the vertical plane; you can increase clarity if they are on-axis with the top of the guitar, or aim them at a higher point to attenuate some of the high-end and undesired mechanical noises from the strings and nails.

About the Samples

Austrian Audio OC818 and OC18

I recorded all the examples with a pair of Austrian Audio OC818. I choose the OC818 for their clear sound, low self-noise, and multi-pattern options. The height of the microphones was 103cm (centre of the capsule), and the distance from the guitar was 90cm.

The signal chain was an AEA TRP2 Microphone Preamp into an RME ADI-2 Pro FS ADDA Converter.

I didn't provide samples in other distances as they would only give cues about my room and instrument, without adding value to you.

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Closing thoughts

Recording the classical guitar is a meticulous exercise. Regardless, if you want to record your next album, a video for youtube, or your performances to share with your friends, it is an utterly satisfying process. It is also a reason to practice harder and become a better guitarist.

Before your press "rec" for the first take, allow some time to find the best position, height, and angle. It can be a matter of having an excellent recording or rendering the whole session useless. Small changes in this context may have dramatic results; they act as a physical equalizer. 

There have been quite a few times that I had to re-record a performance because of a poor decision, or having to rely on heavy equalization to make it acceptable when it was (almost) impossible (or expensive) to record again at the same location.

I hope that this guide will be helpful in your recording adventures in the quest of capturing the best qualities of your instrument and room.

6 Common Mistakes When Recording the Classical Guitar at Home, Part II

Part II - Post Processing

Professional sounding classical guitar at home is not a fantasy anymore or at least achieving a recording quality that is not embarrassing to share. Affordable audio interfaces, preamps and microphones have flooded the market these last decades, with increasing performance and processing power. Rooms, recording techniques and mixing are holding us back.

In the first part on the 6 Common Mistakes When Recording the Classical Guitar at Home, I tried to encourage you to try out different microphone positions and to study your room acoustics.

The second part focuses on some of the common mistakes of beginner classical guitar recordists on utilizing a proper signal chain and achieving satisfactory results in post-processing.

Mistake no.1 - Improper gain staging 

AEA TRP2 Gain Knobs

The fear of clipping the converters leads some amateur recordists to use too little gain, resulting in recordings that are low in level. Without adequate signal-to-noise rations, these recordings will become noisy when any attempt is made to bring them at a normal level during mixing or playback. Contrarily, recording too “hot” will possibly clip the converters and can introduce nasty sonic artifacts to the audio. In either case, the recording will suffer from a limited dynamic range and high noise; attributes that we don't usually associate high-quality classical guitar recordings.

My advice is to aim between -6dB to -12dB as a maximum peak level (not average), per channel. Therefore, when you are happy with the placing and distance of your microphones, do a couple of test recordings, play as loud as you would normally do and set the gain levels accordingly. If you set the levels correctly, you will have a healthy and strong signal, but even if you (or another guitarist you are recording) eventually get carried away during the performance, you still have enough headroom to avoid digital clipping.

Mistake no.2 - Unrealistic panning

Classical guitar is a small instrument, radiating sound from a definite point in space. One of the worst choices you can make if you record in stereo (which you should) is to use a too wide panning. Regardless of if the listener is an audiophile type, sitting on his couch perfectly balanced in front of a pair of top-tier speakers, or a regular person listening to music with earbuds. A hard-panned left and right guitar will sound unnaturally wide and cloudy.

Proper panning of Stereo AB channels

A realistic classical guitar recording is one that creates a phantom image of the instrument right in the middle of the speakers, but with some space around it. Such recordings can remove the playback medium and transport the listener in the room with the player.

In typical AB Stereo scenarios, I pan one channel at 3 o'clock and the other at 9 o'clock. I fine-tune the panning according to the polar pattern of the microphones, how apart they are set, and the distance from the guitar.

Mistake no.3 - Limiting dynamics

Classical guitar is not the most dynamic instrument, and if anything, we should strive to capture as much dynamic range as possible (it starts from the player, so we should also prioritise dynamics in performance). Compressors, on the other hand, are designed to do just the opposite; minimize the dynamic information of an audio track by limiting the loudest notes and boosting the softest signal. 

The classic Universal Audio limiting amplifier

Compressors do make the initial playback sound more exciting and powerful… for a few seconds, but in my opinion, it never pays back. Some of the problems that are introduced with the use of compressors in solo classical guitar recordings are squeezed dynamics, increased noise level and altered instrument tone. 

Cross-genre guitarists employ compressors more often, as they learn that they can be invaluable in a dense mix. But I haven't found any use for dynamic limiting in a properly captured classical guitar recording.

Therefore, unless you have to deal with issues of the room or improper microphone positioning, don't use compressors on classical guitar recordings.

Mistake no. 4 - Being afraid of using filters

High-pass filter’s switch on an Austrian Audio OC18

Many microphones feature high-pass filters, the most common are 40Hz, 80Hz and 120Hz; the same is true for some dedicated outboard preamps. But many beginner recordists are afraid to take advantage of them. The truth is that in the context of the classical guitar, not much musical information is presented at the low-end frequencies. Most of what is below around 80Hz is unwanted room rumble and weird resonances; therefore by attenuating them, we end up with a cleaner recording. Capturing what is essential and leaving out the rest. 

As low frequencies can have a lot of energy, it is preferable to cut undesirable low-end before the signal hits the converters, if possible. This tactic allows us to set the gain and levels appropriately and leads to better signal-to-noise ratios. But even if your microphones or preamps don't have any filters, you can still apply a high-pass filter in your DAW to remove non-essential information.

I also like to use a low-pass filter to remove high-end information that is inaudible, so that my audio consists of only the frequencies I can hear. A gentle roll-off of the low (below 50Hz) and high frequencies (above 18000Hz) is a good starting point. An EQ plugin with these basic filters is the first plugin I load on every track. You can read more on the article Three Most Essential Plugins for the Classical Guitar.

Mistake no.5 - Not learning how to use an equalizer

Other than the low- and high-end unwanted information that we can simply remove with the appropriate filters, undesirable resonances can occur in the audible range as well. These can be caused by the imperfect rooms that we are recording in, our instruments or our technique. Obnoxious resonances can and will distract the listener. 

Learning how to use an equalizer to detect and attenuate or eliminate such issues will make the listening experience much more pleasurable.

The best way to identify an offending frequency is by using your ears. I know that this doesn't sound like great advice, but keep reading. When you detect something that you don't like, add a bell-shaped point on your EQ with an extreme boost and search through the suspected range, like dialling in an analogue radio. 

Once you find the irritating frequency, the sound should be quite disturbing at that point, apply a notch or a generous cut with a narrow Q. Toy around with the Q value to find the sweet spot; a setting that makes the problematic sound disappear but lets the rest of the audio unaffected.

FabFilter Pro-Q 3 with HP & LP Filters, a narrow Q Cut and a High Shelf Boost

Another use for an EQ is to change the overall balance of the recording. Sometimes you'd prefer a slightly fuller recording, or there is just a bit too much low-end. Perhaps the treble is a bit piercing, or you'd like to add some more clarity and articulation. Making gentle adjustments like these are generally uncomplicated with the use of Low or High Shelf adjustments. Just a couple of dB's can make a drastic difference to the evenness and impact of our music. 

Just be careful not to overdo it, and always compare your mixes to your favourite recordings.

Finally, you can also use an equalizer to completely change the sound of an instrument and shape it to your liking. But if you've been diligent with the microphone positioning, and you like your guitar sound, you won't have to.

Mistake no.6 - Too much reverb

Placing the music into an artificial hall is a necessary lie

As I write on the Three Most Essential Plugins for the Classical Guitar article, nothing will affect the listener more than the physical space that the music takes place. 

When we record at home, most rooms are not interesting enough, and so we need to enhance their sound with artificial reverb. But it is easy to overuse reverb, as it makes everything sound "better". Or so we think when we first enter the home recording world.

Most beginner recordists tend to choose a random church preset without any consideration to requirements of the music, tempo and other aesthetic choices. The result is a flood of unnatural and unattractive recordings which instead of sounding realistic or enchanted, they feel cheap.

Learn how the Time, Size and EQ settings found on your reverb plugin of choice to fine-tune the sound the ambience. Then turn down the Mix a little bit more than what you think it should be. Lastly, compare your efforts to commercial recordings (not that those are not guilty of overusing fake church algorithms).  

Closing thoughts

Proper mixing can turn a decent recording into a great one

I hope that this article will make you more conscious of your post-processing choices. I need to write dedicated articles for the use of equalizers and reverb as there is a ton of things to discuss. 

I know that many guitarists don't want to fuzz around with plugins, but proper audio processing can transform a recording. Mixing is an art in itself; a necessary evil that can turn a decent recording to a great one. Quality classical guitar recordings are important for your audience and benefit the classical guitar community as a whole. Thus, it's definitely worth the time and effort to learn how to mix your audio. Alternatively, you may search for someone else to do that for you.

Tip: You don't have to mix every track from scratch; after all, you probably record the same instrument with the same microphone technique and in the same room all the time. Create a template in your DAW with your basic panning, filter and reverb settings. You'll still have to tweak around a bit, as not every piece favours the same settings, nor every day is the same. Templates are great time savers. 

Three Most Essential Plugins for the Classical Guitar

With the seemingly unlimited processing power of modern computers and affordability of recording equipment, it is not hard to make amazing recordings on location or even at our living rooms; and there is no need to wear a white coat to be able to use a microphone anymore. 

Abbey Road recording engineers in white coats

This democratisation of music production brought an abundance of plugins; plugins that we can use to shape our music in any shape or form we can imagine. We don't need to buy expensive and bulky hardware equalizers and reverb units anymore.

Albeit the plethora of plugins, I adopt a minimal approach. There are just a few of them that I use every day and consider to be crucial for my workflow. Here are the three most essential plugins for the classical guitar:

Phase Metering with the 2CAudio Vector

The classical guitar is a rich and complex-sounding instrument, and as one, it can only be fully appreciated when recorded in stereo. Most of the stereo microphone techniques require the microphones to be placed at some distance with each other, and the more microphones you use, the easier it gets to face phasing problems.

Phasing occurs when the wave shapes of two or more microphones are not perfectly aligned in the time domain. This attribute is not entirely undesirable; as the sound begins its journey from the plucked strings and the vibrations of the top of the guitar, our notes travel as sound waves towards the microphones and reach them at slightly different times. Combined with additional waves that reflect on the walls and other objects around us, all with small but not insignificant delays, these slight differences help to create the stereo effect that we experience. Not dissimilar to how our ears and brains perceive and interpret the world around us.

When these differences are augmented to a greater degree, phasing occurs and has a noticeable influence on the sound quality of our recordings. Cancellations and comb filtering can potentially strip fundamental frequencies from our recording, leaving the recorded guitar sound thin and weak. Phase problems can be fixed during mixing by aligning the offending tracks, but it's always preferable to take the extra time and correct this when setting up the microphones.

2CAudio Vector

Here is my process. After finding the desired positions of the guitar(ist) and microphones, I make the first test recordings, then I immediately load the 2CAudio Vector plugin to check for any phase issues. If needed, I move one of the microphones a centimetre or two, closer or further away. Possibly, I need to adjust the angle of the microphone(s). I make small changes and repeat as many times as necessary.

Any result higher with than +70 is acceptable, I strive though for an average of +80 or higher.

Additionally to the phase-meter, the 2CAudio Vector displays a visual spatial meter, a long-term average level, and panning meters. It is a very important tool, and, it is free.

Alternatives - for those who are on a Mac and use Logic Pro X, Apple provides a bare essential but usable alternative; the Correlation Meter, found under the Metering group. If free options are not for you, iZotope offers the Insight 2 metering plugin at a substantial price, which offers a lot of additional metering tools that can be handy.

Filtering, Tone Shaping and Surgical Corrections with the FabFilter Pro-Q 3

Learning how to use an equalizer correctly can transform a good recording to a world-class one. Not to say that it can save your wallet from the need of better guitars, microphones and other gear.

A gentle roll-off of the low (below 50Hz) and high frequencies (above 18000Hz) is my starting point. There is not much if any classical guitar information at these ranges and most speakers (for home, or even pro-audio) will attenuate these frequencies. I don't want my recordings to have much information that I cannot hear, anyway. 

FabFilter Pro-Q 3 in Action

Tip: I've created a preset with these filters so that I don't have to set them up every time. Better yet, I have created a logic template with my plugins and panning presets that I load any time I start a new session. Small things can make our lives easier and save a lot of time.

Next, I'll try to see if there is any unwanted frequency or resonance that needs to be tamed or even eliminated. I use a wide Q band when boosting frequencies for the smoothest response, and a narrow Q band when cutting to eliminate the offending frequency without affecting nearby elements.

And finally, I might apply a mild high shelf, boost or cut of a couple of dBs, if I find the need to get a crisper or darker sound. If there is too much body or not enough fullness, I apply a mild low shelf cut or boost. A little goes a long way.

To be honest, most of my solo recordings nowadays have a very limited amount of EQ (needless to point out that all the microphone comparisons on this site have no EQ or other processing). I try to get it right before the signal converts to digital, taking a great deal of consideration on the room and microphone technique, and my fingers on the guitar. Yet sometimes this is not possible for various reasons, and learning how to sculpt your sound with an equalizer can be invaluable.

For example, last year I decided to record my classical guitar at a historic monument in Greece, Zalongo. I took my trusty Sony PCM D100 portable recorder with me... on top of the mountain. The high altitude proved to be very challenging, the wind didn't allow for any normal position of the recorder, so it ended up being too low and on the side. When I returned home, I thought that the recording was ruined, but careful equalization saved the day.

My recent series of articles exclusively focuses on how I utilize EQ. If you are interested in gaining more knowledge about it, these articles are a great resource to refer to: Crafting Your Sound: How to shape your classical guitar recordings with EQ

The FabFilter Pro-Q 3 is one of the finest equalizers on the market. The sound is clean and precise, yet with some extra dimensionality and sweetness. The GUI is as intuitive as is breathing, the possibilities offered are virtually endless. Besides, a convenient real-time spectrum analyser to better judge what your EQ choices are affecting is available, as well as other useful tools. It is not cheap, but it is the best!

Alternatives - any modern DAW would have a decent equalizer built-in, basic filtering will be effortless, but more complicated sculpturing will be somewhat limited. Waves Q10 is an affordable equalizer with somewhat similar functionality and interface.

Telling sweet lies with the 2CAudio Aether

Considering that the performance is excellent, the general tone and attributes of the guitar well captured; anything we add at this point is a lie. Adding reverb to a recording is a necessary lie, as nothing will affect the listener more than the physical space that the music takes place.

Contrarily, nothing is more repulsive than a terrible recording trying to hide behind a wash of cheap "church" ambience. 

Tip: As reverb tends to smear the sound to a considerable degree, I make most judgments regarding EQ, microphone positioning, etc. without the plugin engaged. I want to have the best possible result, before applying any enhancing effects. I fine-tune my levels, panning and equalizer choices with the reverb later.

2CAudio Aether Algorithmic Reverb

Applying reverb needs to be a mindful process. To some extend it is a stylistic choice; what is appropriate for the music, what expressive and dramatic elements we want to convey. According to these questions, I choose an algorithm or preset, a starting point, but the settings need tweaking to fit the overall character of the music. 

Room reverb has the power to make a recording feel real and accessible, friendly, like having a guitarist play for you in the same room. A medium or larger hall sound will present the audience with a feeling that they have attended a professional recital; a formal setting. Lastly, larger halls and churches can distance the musician from the audience, maybe even from the instrument itself, granting an elusive and ethereal mystique.

Some audiences might prefer the intimate warmth of the Segovia's recordings, while others find pleasure in the spaciousness of Julian Bream's recordings, yet others might seek a middle ground; not too dry, not too wet. For me, it primarily depends on the actual music.

When fine-tuning the settings, the tempo and rhythms of the piece must be considered; how much space exists between notes, how quick do they change, how dense is the harmony, etc. Faster pieces need shorter reverb tails or they will sound blurry, slower pieces might benefit by longer ambience tails. I fine-tune these parameters on a song to song basis, a few times I might even add automation to the adjustments.

All rooms have a sound, they accentuate and attenuate different frequencies, like employing a catholic EQ. Any decent reverb plugin will offer some adjustability for regulating the response of its algorithms. Most of the time, I tend to tune my reverbs a little darker so that they are not as obvious. Taming the low end can also be desirable to help the recording be a little clearer. At rare cases, I will use two instances of the plugin with different settings on high and low responses.

Tip: The place of the reverb on the signal chain matters, I sometimes like to put the Reverb before the EQ. Hence the general equalization applies to the recorded sound as a whole, almost like shaping a classical guitar tone recorded in a larger room. I avoid any drastic boosts or cuts in that case though.

2CAudio Aether’s intensive list of presets

The 2CAudio Aether is the most expressive and expensive-sounding reverb plugin I have ever witnessed. It is an algorithmic reverb and can sound quite realistic but always musical and impressive. It has excellent room and hall emulations, suitable for classical and acoustic music, still, it can create any ambience sound you can imagine. 2CAudio provides an enormous preset library for the Aether to get you started, and the adjustability is intense. Right now it is on sale.

Alternatives - I started with the 2CAudio Breeze, before migrating to its bigger brother. Breeze offers a similarly excellent sound, at a bare essential and affordable package. It offers less tweakability, but that might be a good thing as the Aether can sometimes overwhelm the inexperienced. Breeze 2 should be even better than the first version I was using. I have also heard good things about the Exponential Audio PhoenixVerb, but have yet to try it.

I’ve recently tested about a dozen different reverb plugins, to find the Best Reverb Plugin for Classical Guitar.

Closing thoughts

I have and sometimes use other plugins as well, but I try to keep an as-small-as-possible armoury. By limiting my plugin choices, I can concentrate on the music. I want to have to take as few unimportant decisions as I need.

If you are on the market for a new EQ or reverb plugin, this article can give you some fine options. But I also hope that this text might inspire you to learn and use what you already have, use your ears to make mindful adjustments, and finally present your music as you intend.

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A Three-Microphone Setup for Recording Classical Guitar

An M/S Stereo alternative

Classical Guitar is a complex and rich sounding instrument; as such, it sounds better when is recorded with at least two microphones. A statement that you must have read several times already if you hang out at this site. Some engineers argue though that guitar is a relatively small instrument which tends to sound too "wide" when recorded with the most conventional stereo techniques; thus sounding unrealistic in playback.

Neumann TLM 193 and TLM 170 in M/S Stereo Configuration

Mid/Side stereo, which I discuss in my Three M/S Stereo Setups for the Classical Guitar article, is usually praised for its truthful representation of the classical guitar. The elimination of phasing problems and the flexibility it offers during mixing are additional important advantages, however, it is not immune to potential issues. Namely, the collapse of the room information in mono reproduction, and the inability to hear the resulted-combined sound without some processing to the channels (or the use of an M/S matrix). Lastly, symmetrical Figure-8 microphones, required for the "Side" channels, with a balanced response are generally expensive.

Alternatively, the combination of a "Mono" microphone placed at close-proximity and a "Stereo Pair" at some distance, shares some similar advantages without the drawbacks of M/S Stereo. Hence the Three-Microphone Setup is an appropriate option for capturing the subtleties of the classical guitar. 

Purpose in position

Austrian Audio OC18 - A Large Diaphragm Cardioid Condenser

The "Mono" microphone is positioned close to the instrument (at about 50cm, although some could go as close as 30cm) to capture a full-bodied sound. I recommend a large-diaphragm condenser with a smooth treble response for this position; as not only it will capture the fullest sound, but the slower transient response of the large capsule will also give a less analytic, more relaxed response. 

The "Stereo Pair" is placed a little further away to capture the sound of the room. A pair of small-diaphragm condensers is ideal here due to the better off-axis response and can be either Omni or Cardioid patterns depending on the acoustics. The actual distance depends mainly on the room; accordingly, as the distance increases, the height of the microphones should be increased as well. The distant pair brings to the mix crucial depth, space and some high-end articulation.

Decisions; Player vs Audience

Another way to see the three-microphone setup is as a fine compromise between the intimacy of what the player hears and the somewhat distant experience of an audience member.

During mixing, the three channels can be balanced to the desired sound; from close to distant and everything in between. Either the "mono" or the "stereo pair" can be used as the base sound. Think about a mono capture with some extra space or a distant pair with added fulness. 

Examples

For the first recording, I used a Neumann TLM 193 relatively close to the guitar, and a wide pair of DPA 4011As as room microphones.

In isolation, neither the Mono signal nor the AB pair sounds particularly great. The first is somewhat plain and too direct, while body and weight are missing from the AB pair. When mixing all three microphones, the combined sound gets defined and three-dimensional; thus more real.

I made another example of the same setup and the exact same distances, this time with an Austrian Audio OC818 in Cardioid for the Mono duties. The AB pair is still the DPA 4011A. If you have read my Austrian Audio OC818 review, you already know that I love their sound, and I wanted to hear how well they can mix with the DPA microphones.

Combining M/S and Room Microphones

A few months ago, I also experimented with combining an M/S pair of Neumann TLM 193 and AEA N8 up close and a stereo pair of Austrian Audio OC818s at some distance, you can hear the result in this recording of Bach's Cello Prelude no.2.

Some things to take care of

If you want to try the Three-microphone setup, it is important to listen to the recording as a whole before committing to any microphone position. The Mono microphone may be judged alone if you plan to use for the main sound, but don't make bold decisions without listening to the combined audio.

Potential phasing nightmares is one of the biggest drawbacks of this setup, so take extra care to eliminate any issue and check with a proper phase meter plugin regularly (read my article on the Three Most Essential Plugins for Classical Guitar). 

Lastly, although the recording should be evaluated as a whole, the close and distant setups might need to be EQed separately. Nevertheless, you may apply a catholic EQ with basic filters and sculpturing.

Cheaper Alternatives

Line Audio CM3 - A budget SDC with an surprisingly good sound

Apart from the aforementioned combinations, any microphone could do a decent job. If you just starting and your budget is limited, buy the best large-diaphragm condenser you can afford and a pair of cheaper small-diaphragm condensers, like the Line Audio CM3/CM4 (read my comparison of the Line Audio CM3 and DPA 4011A).

Final thoughts

I've seen mostly AB, XY, ORTF and sometimes M/S setups explored by engineers and home recordists for the classical guitar. All of which can produce excellent recordings given the right circumstances. Yet, I find that with more elaborate techniques I can capture the instrument, at home or on location, with exceptional precision, without any disadvantages. Except maybe for needing more input channels, cables, stands, and more time for the setup.

A Three-Microphone setup can shine in a very wet hall, as it allows us to capture the body and definition of the instrument while including as much ambience as desired. In a home recording of the classical guitar, it offers great flexibility, if not to provide ambience, it combines the intimacy and fullness of a close pick-up with some extra depth provided by the spaced pair.

So, what do you think? Have you tried a three-microphone setup? Which microphones have you used?

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Neumann Berlin

DPA Microphones

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6 Common Mistakes When Recording the Classical Guitar at Home

Part I - The room and the microphones

You just bought a couple of microphones and want to start recording your classical guitar at home; share your recordings with your friends, archive your performances, or start your career as a professional guitarist or recordist. Additionally, recording yourself will force you to look straight into your flaws, thus improving you as a player. 

These past few months, I have received quite a few emails and taught several Skype sessions with the focus on recording classical guitars. There are a few mistakes that seem to be common, mistakes that we all do when we first start recording. 

In this article, I discuss some of the flubs of the beginner recordist that have to do mainly with the microphones and the room.

You can also read the 6 Common Mistakes When Recording Classical Guitar at Home, Part II article, where I discuss about utilizing a proper signal chain and achieving satisfactory results in post-processing.

Mistake no.1 - Not spending enough time to study the room

Julian Bream - A Life on the Road (Book, 1982)

Every room is different, and If I had to take something out of the brilliant Julian Bream’s book "A Life on the Road" is how essential is to take the extra time to find the spot of where the guitar sounds the best in the room you are; the position in the room and the angle towards the sides are some of the things to consider. 

Of course, Julian Bream mainly talks about performances, but the same logic applies to the recording aspect as well. The best sounding spot in the room will allow you to play more comfortably, thus you might sculpture a nicer sound of your guitar; and depending on the microphone technique you use, added ambience or the elimination of unwanted reflections will have an enormous impact on the final recording.

Usually, most of us sit where it is convenient and don't think much about positioning the microphones, as long as they are not in the way. Some others, they like symmetry and will position themselves or the microphones in the middle of a square or rectangular room; the worst sounding spot in a room like this, introducing a plethora of problems that are impossible to remove.

So, try a few different positions, angle the guitar towards one of the sidewalls, maybe sit a little closer to the back wall, to give some space and allow the guitar to project properly. Better yet, ask someone else to play the guitar, ask them to try a few different positions and observe how it affects the sound. Use your ears as if they were the microphones.

Mistake no.2 - Placing the microphones too far away from the guitar

Norbert' Kraft’s distant miking with a spaced pair of Neumann microphones

If you have ever watched any Naxos videos, you must have noticed Norbert Kraft's distant and wide miking. Similar techniques can be seen any many famous recordings. Getting influenced by professional recordists can be inspiring, but also equally misleading as the source material is very different. Techniques that can be excellent in a church, large halls, or even a well-treated studio never apply to the smaller room reality of the home recordist.

By following such techniques you might end up placing the microphone(s) closer to the front wall than the guitar. Even when the microphone(s) are close to equal in distance, it is possible to end up with an overly diffused and roomy sound; as a result, the sound of the small room will be forever embedded in your recording. Getting too wide will also be a problem if the room is not wide enough. Also, the guitar is a small instrument and rarely benefits from a very wide pick up. Therefore, try moving the microphones closer to the guitar but not too close. 

Mistake no.3 - Placing the microphones too close to the guitar

Pat Metheny - nylon string recording; don’t try this at home!

After failing with the "church-technique", many of us want to get rid of the small room sound altogether, we have amazing reverb plugins anyway, and start positioning the microphone(s) very close to the guitar, I mean really close. To a similar erroneously path can arrive those with an acoustic guitar background or those who have witnessed some terrible close-miking examples in even famous recordings.

The problem is actually... threefold:

Firstly, by placing the microphones too close, finger and other mechanical noises will creep in, resulting in an annoying and unattractive recording. You may start cutting high frequencies to remove some of those artefacts but sooner or later you'll end up with an immensely dull recording. 

Then, most of us usually start with directional microphones, those exhibit a pronounced low-end frequency response due to the proximity effect. One can balance the unwanted boost with careful EQ-ing, but beginner recordists won't have the skills for that. The low-frequency boost combined with the need to cut high-end information will produce an unbalanced imitation of a classical guitar. 

Furthermore, the classical guitar is a complex instrument; every part of the top projects different frequencies that they all combine at some point to create a cohesive and rich sound. Normally this point is around the length of the soundboard, about 50cm, that should be the limit of how close you can get with the microphone(s): Greater distance is preferable if the room allows, but, never record classical guitar closer than 50cm. 

Remember, classical guitar needs space!

Mistake no.4 - Not experimenting with microphone height, angle and techniques

Placing the microphone(s) at the height of the guitar is a decent place to start, but as microphone height and angle influences so much the overall character of the recording, ignoring other possibilities will frustrate you as you will have to fight with post-processing to get the desired result. It is preferable to spend the extra time and set up the microphone(s) correctly.

Normally, as classical guitarists learn to project their sound slightly upwards, the further away you place the microphone(s), the higher they should be positioned. And, by allowing the microphone(s) to face a bit downwards, so to be on-axis with the guitar, you can achieve a realistic and full-range recording with great definition. This technique will capture what is usually called the "audience perspective".

Spaced AB Pair of Austrian Audio OC818 at 103cm height that point slightly downward

If you notice that the guitar, guitarist or microphones to sound a little sharp, you can angle the microphones slightly off-axis to reach a smoother treble response. 

In the case of spaced pairs, it is not uncommon to point the microphones somewhat outwards so that they are not parallel to each other. But in a small room, and at greater distances, additional room reflections will soak into the recording. Thus, I've found that is more desirable to point the microphones slightly inwards or a little higher to achieve a mildly off-axis response but with less "room" in the recording.

For those who pursue an intimate and fuller sound, with a tame high-end and less room, what is called the "player's perspective"; miking the guitar a little closer and with the microphone(s) lower is a good place to start. Avoid placing any microphone opposite of the soundhole, otherwise, the recording will become boomy. For an even fuller sound, place the microphone(s) lower yet, and point them upwards.

The discussion about miking techniques is a complicated one and deserves its own article(s), but until I write it, these ideas should get you a bit more involved.

Mistake no.5 - Not checking for phase problems in stereo recordings

The 2CAudio Vector plugin includes a phase meter and its free!

The classical guitar should be recorded in stereo. Either a pair of spaced condensers or one of the several other stereo setups will do. Except for the coincident microphone techniques, like M/S Stereo and X/Y, any technique that involves two or more spaced microphones, can potentially become a phase nightmare.

Phasing has a noticeable influence on the sound quality of your recording, as due to cancellations and comb filtering it can potentially leave your recorded guitar sound thin and weak. Be sure to check for phasing problems with a proper plugin (I use the 2CAudio Vector, it has a phase meter, plus some other welcome features and its free), adjust the microphones until you minimize phase - everything higher than 80% on the meter is acceptable. You can still compensate for phasing during mixing, but it’s always better to take care of it beforehand.

Mistake no.6 - Thinking that more expensive microphones or preamps will fix all problems

Shopping for new microphones, interfaces and other toys... I mean tools... is fun; a big chunk of writings on this site is about reviewing and comparing recording equipment. But, at this age, pretty decent recordings can be made with a reasonable budget. So blaming the gear is only an excuse for not willing to go the hard way.

Refrigerator racks with outboard equipment can be fun, but we can do a lot with a couple of decent microphones and an audio interface

I'm not arguing that equipment doesn't matter; it does. It just not going to substitute for bad microphone positioning, an unsuitable room or not refined guitar technique. Contrary, more accurate and detailed microphones will accentuate any of the problems that are present. 

Learning how to use what you've got, experiment with various microphone techniques and positions; take steps to adjust your room for a better sound. And why not, maybe spend some time practising and try to be well-rehearsed before you press the record button. These are some basic actions to take that can drastically improve your recordings in a meaningful way.

Closing thoughts 

Mistakes are part of the learning process; don't be afraid to make them, and don't hesitate to experiment. After all, recording is a journey, and the process of trying things can be a valuable lesson in becoming a more accomplished recordist.

I hope that this article might encourage you to try out different microphone positions, learn and improve your room. Optimistically, the information provided here will guide you to make better recordings.

Austrian Audio OC18 Cardioid and OC818 Multipattern Condenser Microphones Review

Elegant and revolutionary; A modern classic.

Some of my all-time favourite recordings have been made with the AKG C12 (or it stereo counterpart C24), I always adored its distinctly refined sound and musical articulation. Unfortunately, these are quite rare and extremely expensive microphones, so acquiring one is out of the question.

Austrian Audio, formed by ex-AKG employees, promises to carry the much-desired sound of the classic AKG microphones to the 21st century, with outstanding engineering, forward-thinking features and a competitive price. Based around the new handmade ceramic capsule CKR12, and 100% manufactured in Vienna, the large-diaphragm multipattern condenser OC818 and its sibling, the fixed-cardioid OC18, create high expectations.

Brass-ring capsule issues

The new CKR12 ceramic capsule.

The brass-ring CK12 capsule, originally designed for the C12 and early C414 microphones, offers an excellent frequency response with even characteristics on- and off-axis but was so labour intensive and inconsistent that AKG dropped its production and moved on to a simpler design more than 40 years ago. Numerous successors have been presented, and as with all sought-after microphones, a lot of clones have tried to recreate the magic of the famous capsule. But, in the hearts of the audio engineers, the original C12s and C414s, when in good condition, are still the best sounding.

Austrian Audio measured some of the best sounding CK12 capsules available to model the CKR12 which is at the heart of every OC18 and OC818 microphone. The new capsule is ceramic and is made by hand, this design should have a similar response but with greater consistency and durability.

Classy looks

The microphones themselves look rather classy and somewhat understated with a body made of a single piece of zinc-aluminium alloy, finish and craftsmanship are impeccable. The OC818 is silver, while the OC18 is black and lacks the polar pattern selector switch and the second output on the back, but is otherwise identical. The silver finish of the OC818 looks slightly more elegant, but with one drawback; the lettering on the switches is a little to see under certain lighting conditions.

Polar pattern selector, filters and pads on the OC818.

There are 40Hz and 80Hz high-pass filters at 12dB/octave available to control low-end rumble as well as a gentler 6dB/octave at 160Hz to compensate for proximity effect. Carefully chosen high pass filters on microphones and preamps are appreciated here as it is preferable to cut unwanted frequencies before they hit the digital realm. When recording classical guitar, I pretty much have the 40Hz filter engaged at all times.

The sensitivity of 13mV/Pa is respectable, making the choice of preamp less critical. Both the OC18 and OC818 worked flawlessly with the preamps of an RME Babyface Pro FS and my AEA TRP2 external preamps. Both microphones also incorporate -10dB and -20dB pads to protect the internal electronics from very loud sources, which is never a problem with classical guitar, so I haven't tried them. On the other hand, the self-noise of 9dB-A is superb for capturing the subtle plucking sound of nylon strings, especially for very dynamic playing styles.

Dual-output capabilities

A Mini-XLR gives a separate output from the rear capsule of the OC818.

A distinctive feature of the OC818 is the ability to record the two capsules separately and blend them later during mixing with the PolarDesigner plugin to craft the perfect polar pattern. Read my post regarding the PolarDesigner plugin here. Or use the OCR8 Bluetooth dongle and choose between 255 discrete polar patterns in realtime. Unfortunately, I wasn't provided with the OCR8 to test that feature, but the PolarDesigner plugin has been excellent.

Finally, a new plugin developed by Austrian Audio called AmbiCreator makes possible the recording of ambisonic B-format signal with two OC818 microphones. I haven't tried that yet, but I like that the team of Austrian Audio is restless.

Accessories

A pair of OC818s and a single OC18 in the aluminium case.

Austrian Audio was kind enough to send me a pair of OC818s and one OC18 for testing, the microphones arrived in a compact aluminium case which is excellent for storing and transferring them. Wooden cases can sometimes be more luxurious, but an aluminium case is lighter and much more practical. I was also provided with shock-mounts and simple plastic clip mounts. The shock-mounts are compact enough and seem to work well. Saying that, I would like to see them design a more elegant mount as an alternative to match the sophistication of the microphones.

So, how do they sound?

OC818s in AB Stereo.

I first tried the microphones with the Cardioid pattern and my usual wide AB setup. The OC818s captured the articulate character of my spruce/brazilian rosewood classical guitar in abundance. Paired with my AEA TRP2 preamps and RME ADI-2 Pro FS converters, the OC818 pair delivers a gorgeous rich sound with excellent clarity. The tone is bright and defined but in a smooth way, not peaky or harsh neither hyper-realistic.

Austrian Audio OC818 in Cardioid & OC18 - Frequency Response and Polar Pattern

When tested against the Neumann TLM 193, an honest and natural microphone, it becomes apparent that the Neumann is somewhat subdued on the high-mids. And while both microphones can produce a beautiful recording, I prefer the more detailed sound of the OC18 and OC818. I've been using the Neumann TLM 193 for years so their somewhat laid back nature is not new to me, and therefore I usually chose to pair it with a brighter mic, like the TLM 102/103 for instance, to bring back some articulation.

I also tried the OC18 against the Neumann TLM 102, a microphone that I always liked for its natural response, I found that in comparison the Austrian Audio offers a richer midrange with more fluent top-end and defined low-end, thus making the Neumann sound a little hollow in the mids. Arguably, the OC18 is the better microphone, and not much more expensive.

Another microphone I had available for testing is the Gefell UMT70s, a multipattern large-diaphragm condenser built around the famous Georg Neumann M7 capsule and with the finest engineering. It appears to me though that the Cardioid and Figure-8 patterns of the UMT70s were voiced for close miking, and found them to be less desirable for solo classical guitar which benefits from more distant miking. I would imagine that up-close, the Gefell would produce juicy recordings for popular musical styles.

Austrian Audio OC818 in Omni - Frequency Response and Polar Pattern

Both the Gefell and Austrian Audio microphones sounded outstanding in Omni, albeit with a different character. The OC818 produce a more natural, true-to-life recording of the guitar in the room with even response across all frequencies and a fuller low-end, the frequency response graph shows a slightly more pronounced high-end with more gentle high-mids. The Gefell UMT70s in Omni imposes a smooth and creamy sound; juicy and delicious, but not nearly as accurate. Honestly, if I only needed an Omni microphone, I would be happy with either. The OC818 costs less though and sounds consistently excellent in all patterns.

A universal studio microphone

Austrian Audio OC818 in Hypercardioid - Frequency Response and Polar Pattern

I then switched to the Hypercardioid pattern and a slightly more distant set-up. The tighter pattern leaves most of the room out of the recording and the extra distance lets the guitar breath more freely. There is a little less body to the guitar sound but mids and highs are captured in detail and elegance; for challenging rooms, one or two OC818s in Hypercardioid would be the best choice.

For placing the classical guitar inside a denser mix, the tight pattern, and the absence of room ambience of the Hypercardioid pattern offer a vital asset. My instinct when laying down the guitar part for an Elusive Aura recording last July was to use the Omni pattern of the OC818. I couldn’t get the mix right though; the room sound pushed the classical guitar in the background, and in the low strings were fighting with the two cellos. I decided to re-record my part with the Hypercardioid pattern and voila! The classical guitar part almost mixed itself.

Finally, I tried a pair of OC818s in an M/S setup with a Cardioid Mid microphone, read my Three M/S Setups for Classical Guitar post. The truly symmetrical Figure-eight pattern and the full low-end extension should make the Austrian Audio microphones excellent in that application. After processing the Side microphone and balancing the levels, the result is a very realistic image of the guitar with a solid centre image and a polished sheen. My room, even though it's not large, it has a pleasant sound for acoustic instruments due to non-parallel walls, high ceiling, wooden floor and moderate treatment. I can imagine that the OC818s in M/S would sound impressive in a large hall or church.

Austrian Audio OC818 in Figure-eight - Frequency Response and Polar Pattern

Ambience duties

In this Bach's Cello Prelude recording, I used a distant pair of OC818s in Cardioid to pick up the room together with the Neumann TLM 193 and AEA N8 in M/S Stereo placed in the direct field. I think that the Austrian Audio captured the ambience admirably and provided the recording with detail and clarity. In that scenario, the laid back character of the Neumann and AEA combo complements perfectly the brilliance of the Austrian Audio pair.

OC18 vs OC818

I believe it is a smart move for Austrian Audio to release the fixed-cardioid OC18, as many don't need the extra patterns and can save a few hundred euros. According to Austrian Audio, the tolerances of the CKR12 capsules are so tight that any OC18 and OC818 will perfectly match and can be even used as a stereo pair. But, given how much more versatile the OC818 is, costing only (at least for the time) a few hundred more, it is difficult to recommend the fixed-cardioid version.

Conclusions

Austrian Audio OC818.

Austrian Audio are the rightful heirs to the CK12 design tradition, it doesn't surprise me in the least that they developed a new microphone that sounds so alluring. Contrary to a lot of large-diaphragm condensers that either produce a fake sense of clarity with over-pronounced high-end or a smeared response, the Austrian Audio microphones capture ample detail; yet they manage to remain smooth, never harsh or sharp.

With low self-noise, exciting yet clear sound and dual output, the OC818 has become my favourite large-diaphragm condenser for recording the classical guitar. I used the pair of OC818s in Omni for the recordings of my latest classical guitar suites "A Quiet Place" pt. I and II, and with a custom polar pattern on “Baltik Winter”.

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Coda A - Apples vs Oranges

I compared the OC818 with DPA's 4006A and 4011A small-diaphragm condensers. The DPA could be my favourite sounding microphones for classical guitar; their truthfulness is unsurpassable but they suffer from a relatively high self-noise, especially the 4011A. The omni 4006A has an impressive 40 mV/Pa sensitivity and is less noisy.

This may seem like comparing apples and oranges due to the different design, but the DPA microphones are the epitome of clarity, definition and precision and I wanted to see how the Austrian Audio microphones compare. Both DPA capsules offer an almost brutally honest pick-up, with breathtaking realism; like “being there in the room”. To my surprise, the OC818 set in Omni and Cardioid respectively comes quite close; maybe not as realistic and precise, but a touch more musical and seductive in exchange.

The OC818 is a large-diaphragm condenser and might not be best suited as the main pair for orchestral recordings. On the other hand, for small ensembles and solo instruments, the noiseless operation and extra musicality can be favourable.

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Coda B - Perfect for the Cello

My friend and great cellist Natasha Jaffe came over to my studio one day and we tried one OC818 in front of her Cello. We immediately loved the expressive and balanced sound the microphone captured, the Neumann TLM 193 seemed a little dull in comparison. We tried a couple of different positions to make sure that no microphone had an advantage, the results were consistent across all tests. Natasha decided to buy an OC818 for her own productions, as she felt that the sound of the Austrian Audio was "finished" and “ready”.

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Coda C - Recording Debussy

Here another is a real-world example of the use of AB Stereo on Classical Guitar in a professional setting. I used a pair of Austrian Audio OC818 microphones set in a Custom Polar Pattern that combines the best of Cardioid and Omni qualities. The spacing of the microphones is 26cm. The goal was to capture the pure tone of my Angela Walter guitar together with the incredible sounding main hall of the Musikbrauerei in Berlin.

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Austrian Audio

Apple MacBook Air i7 2020 from the perspective of a Music Producer

The recent introduction of quad-core processors in Apple’s MacBook Air promises greater performance in the familiar form, but is it capable for any professional work?

The new MacBook Air in Space Gray

I have been using my trusty mid-2013 MacBook Air 13 with an i7, 8GB Ram and 256GB SSD since its introduction. Having produced several albums and videos of my music, as well as of colleagues and friends of different complexities in my home studio and on location, this machine has never let me down.

My silver 2013 MacBook Air; no signs of wear after seven years of abuse

After almost seven years of intense use, it has slowly started to show its age. A progressively unreliable battery, the older screen and the greater CPU demands of modern plugins were making the experience less fun.

I was holding on it regardless, mainly because I was not satisfied with some of Apple's decisions in the latest years. Namely, the removal of the MagSafe and the SD card reader, as well as the limited number of USB ports.

Unfortunately, the 2020 MacBook doesn't deal with any of these issues, but Intel’s 10th generation i5 and i7 Quad-Core processors, the possibility to expand the RAM to 16GB, and the impressive Retina display allowed me to let my old computer finally retire.

Windows Alternatives

First of all, let me state that I'm not an Apple fanboy, I'm perfectly happy with my Pixel 3a and several other Android phones before that. But the truth is that no-one else is doing the trackpad as well as Apple. The integration of the touchpad and magic mouse gestures into Logic Pro and Final Cut Pro are an essential part of my workflow, anything else will be a compromise. I also love how stable and efficient MacOS is besides being a low-maintenance operating system. Having dealt with Windows in the past, I can see their advantages, but Apple provides a seamless experience.

The MacBook Pro

The teardrop shape of the Air is ingenious

I have been flirting with the idea of getting the Pro instead, but the form factor of the Air is superior to me. The teardrop shape is more comfortable to type on and for the work that I typically do, and the slightly less weight can be an important factor for travelling and location work. Furthermore, my work primarily involves recording and producing classical guitar or chamber music, writing articles, making scores and editing simple videos. Except for video editing, none of my other activities requires a lot of CPU power. A light, reliable and snappy computer with good battery life and silent operation is all I'm looking for.

2020 Updates

The new Air comes standard with 256GB of fast SSD storage which is enough for me, since I prefer to keep the system drive relatively clean and work off an external SSD, especially with the large video files. Cloud storage for other types of documents allows me to continue working on different machines, and gives me a peace of mind if anything goes wrong. I opted the i7 version for the extra processing power and future-proofing, Intel's 10th generation quad-core processor should be about four times faster than my old computer.

Another welcome addition is the 16GB Ram option which boosts the multitasking capabilities of the MacBook. A typical daily scenario for me is to have a bunch of tabs open at any given time at three different browsers (Safari, Chrome and Brave) as well as having both Logic and Final Cut loaded with my latest project. Sibelius and Affinity Photo may also run in the background, ready for me to use at any moment. I usually leave everything open with loaded projects, and in that case, the more Ram the better.

The old design

My old Air has the classic silver finish, a timeless design choice that doesn't easily show any marks. For a change, I decided to get the Space Gray this time. I hope that it will also take some slight abuse gently. Space Gray is gorgeous while being more subdued, with a more homogenous look in the keys, chassis and display. The less obvious aesthetics let the computer disappear, bringing the work in the foreground. The black and much smaller bezels also help.

Retina display delivers greater resolution and colour gamut

The "new" retina display is a delight to watch, with great colour reproduction and breathtaking resolution. Some people find the slightly wider bezels old-fashioned when compare to competitive ultrabooks, but I think that they might have advantages. They allow for enough space to rest your wrists when writing, a big-enough trackpad, front-facing speakers (for the odd time that I might need to use them) and a full-sized keyboard. Speaking of which, I know that there have been countless complaints about the performance and reliability of butterfly keyboards, I'm happy to report that the new magic keyboard is a joy to type on, and considering the reports from the 16" MacBook Pro, it should be without problems.

I was afraid that I wouldn't enjoy as much the clickless nature of the "new" touchpad, counting on my minimal experience with modern MacBooks, but the smooth glass surface and responsiveness of the touchpad is brilliant and took me only a few minutes to forget the old one. Lastly, TouchID is a godsend, with fast and reliable verification, it saves a lot of time from typing long passwords.

Construction and Connectivity

ONLY two USB-C ports…

Apple's engineering and manufacturing are second to none, everything feels very robust, with smooth surfaces and polished edges. A beauty to look and touch. Plugging in the charging cable produces a very satisfying sound. The removal of the MagSafe with all the safety and convenience it provides is really hard to understand though, and I wish there was at least one more USB-C port... and an SD Card reader. Well, at least there is still a headphone jack.

An innovative mess

I understand that Apple wants to push wireless connectivity, and I appreciate this philosophy. Sending files with AirDrop between my devices is a breeze, as is the integration of Sidecar. But until my mirrorless camera can send large video files with Bluetooth, and my drives, audio interfaces and DACs can work effortlessly via Bluetooth, I’m stuck with a vastly inelegant solution. Just to do be able to use my RME ADI-2 Pro FS for audio I/O, while charging the MacBook, accessing video files on my SD card and working on my external SSD drive - which is what is connected on my MacBook 95% of the time when I'm at my office - I have to rely on a USB hub, which adds to the cost only to create a mess of cables on my desk. On a positive note, if I want to bring my MacBook with me, I need to remove only one cable.

The Wait

At least we still get a headphone output

I have to confess that even though I was confident with my purchase at first, some of the early reviewers that were reporting thermal throttling and other heat issues due to the removal of the heat pipe had me worrying. Recording subtle classical guitar pieces with ultra-sensitive condenser microphones and spinning fans don't go well together. After all, with almost the same money I could buy a 2019 MacBook Pro with 4 USB-C Ports.

I stayed positive the two weeks that took for Apple to send me my MacBook, due to the pandemic and the great demand for the new MacBooks I presume.

When my machine arrived, I set up everything and installed all the necessary software. After a couple of days of making all the preparations, as well as using the MacBook for regular use, I have yet to hear the fan spin hard, if at all. The chassis would sometimes be warm but stay comfortable. A first relief, but I had to wait and see if it would overheat with my regular use.

Performance

An excellent keyboard and a brilliant touchpad

After everything was set, the first thing I did was to record my classical guitar and see if the fan starts spinning, ruining my precious recording. Of course, as expected, it remained silent throughout. I knew that the real test was to see how well it can handle editing and mixing though.

Without quitting any apps, with all three browsers running in the background, with four-five tabs each while five of them being preloaded YouTube videos on Chrome, I started loading plugins on my project. Since, I usually work on my music all day and also use my laptop for other tasks in between, for convenience, I leave everything running.

As I already stated my needs are very specific and not awfully demanding. For music production, I'm usually dealing with only a couple of audio tracks, equipped with FabFilter's Pro-Q3 plugin equalizer and one or more algorithmic reverbs, namely 2CAudio's Aether or Breeze plugins. On the master bus, the usual suspects are the Pro-L2 limiter, along with the 2CAudio Vector spatial image analysis and Youlean loudness meter plugins. If required, I might use a couple of iZotope's noise reduction plugins to remove any unwanted noise.

My seven-year-old MacBook could handle a similar load but the plugins would drain the CPU, sometimes leading to System Overload warnings. Some plugins have also oversampling capabilities, that boost performance with the expense of bigger CPU loads, which would make my MacBook surrender. I would often only run plugins at top quality only for the mixdown.

After loading all the plugins, I started the playback, after a minute or so there was still no sign of fan spun. I started boosting performance on some of the plugins with oversampling, still, the fan was inaudible. Then I decided to push the CPU harder. I went to Safari and loaded a 1080p video on youtube, after a minute of listening to both my guitar track and the random video, the fan was still inaudible. My last test was to reproduce the same experiment with Chrome, and surely after half a minute or so, the fan kicked in, at a low speed. I let the video play for another minute to check if this would make the fan to spin faster, but no luck, the fan was audible but at a very comfortable level. I stopped everything and took an ibuprofen, a headache form all the chaos was started to kick in instead.

System Overload warnings on my 2013 MacBook when pushed hard

I loaded a similar project at my old MacBook and tried to replicate the test. I started the playback on Logic, I tried to push the CPU with moderate oversampling and then I tried to stream a video on Safari, after a couple of seconds, I got a System Overload warning from Logic and the audio stopped so thankfully I didn't have to go through this emetic experience again.

Large projects are not my regular tasks, but I have used the 2013 Air to successfully produce projects with more than thirty audio tracks, with a bunch of plugins on each one, CPU hungry emulations, and virtual instruments. Granted, the fan would sometimes resemble an aeroplane jet, but it was doable and my old MacBook still works like a charm after several years of such abuse. So, I'm positive that the new MacBook Air would not be different in that regard.

Video Editing

Intel’s Iris Plus graphics should make the 2020 Air a charm to work for light video editing. To get an idea on the performance improvements I loaded 1080p footage from my Fuji mirrorless camera. Editing was snappy and with some basic colour grading and a LUT applied, the playback was perfect. The Retina screen is a big improvement over the old display, with much greater colour depth and spectacular resolution. There is much more detail, with better blacks and richer colour reproduction.

On my next video project, I plan to shoot in 4K. This is a demanding job that was absolutely impossible on my old Air, so I'm excited to see how the 2020 Air performs here. Click here to read my experiences with 4K video editing on the 2020 MacBook Air.

A MacBook for the Music Producer on the go

The new MacBook Air offers a perfect balance of performance and portability

Considering the limitations of the form, the MacBook Air is not the most powerful computer, and it was never meant to be. If you like playing games, or your thing is hardcore video editing and music production with 100s of tracks, you have to look elsewhere. The new 2020 Air will appeal to those looking for snappy, reliable performance that will perform moderately heavy tasks with ease and can be everywhere they go.

Apple’s Air line of ultrabooks has totally eliminated for me any need for a conventional desktop computer with a perfect balance of performance and portability

Austrian Audio OC 818 vs DPA 4011A Stereo Pairs

Austrian Audio OC818

DPA is a high-end microphone company and needs no introduction, they have been around for around 30 years (their capsule design begins somewhere around 1950 with their first measuring microphones) and their microphones have been used on countless recording sessions in the finest concert halls in the world. The 4011A is a small-diaphragm cardioid condenser, praised by engineers and musicians for its sheer accuracy and extremely low distortion.

DPA 4011A

Austrian Audio might be a new name, but the people behind it have a combined experience of over 350 years in audio engineering, or that's what their marketing team suggests. The OC818 is their first creation, a multipattern large-diaphragm condenser microphone built around a hand made ceramic capsule, made to the same critical dimensions as the classic CK12.

Apples and Oranges

Although this test might seem to compare apples and oranges, as one is a small-diaphragm condenser with a fixed cardioid polar pattern and the other is a multipattern large-diaphragm condenser, the objectives are quite clear.

Julian Bream and AKG C24

Slower transient details, colouration and the ability for a lower self-noise floor are well-documented attributes of a larger capsule, while greater linearity and accuracy are closely associated with a smaller one.

When recording a top grade, luthier classical guitar, we wish to immortalise every detail. And thus, for the last decades, the use of small-diaphragm condenser microphones have prevailed. Most of the iconic recordings that defined the sound of the classical guitar have been made with the large-diaphragm condenser and ribbon microphones though. Many of the Julian Bream recordings, for example, have been made with AKG's stereo C24.

Neutrality might not always be desirable.

DPA 4011A Frequency Response and Polar Pattern

Austrian Audio OC818 Cardioid Frequency Resposne and Polar Pattern

The act and art of recording allow for the development of personal aesthetic, as every choice would have an impact on how the recording will be interpreted and appreciated.

Following this path I want to investigate further if the colouration that is usually a characteristic of large-diaphragm condenser microphones, can sometimes be desirable when recording classical guitar.

And furthermore, try to answer the question if a single multi-pattern microphone, with all the versatility that it bears, could replace or subtitute for a collection of dedicated microphones in classical guitar recording.

Details

Stereo Sets

The recordings were done in AB stereo with a 32cm distance between each microphone, I placed each 4011A and OC818 microphones side by side, as I figured that this will bring the capsules closer together. The microphones were on axis with my guitar, at 88cm high and around 50-55cm from the spruce top. The recordings are dry with no EQ, reverb or other processing anywhere.

High-quality 320kbps mp3 streams:

If you’d like to listen to uncompressed wav files, just send me an email.

Click here for more comparisons and a full review of both the OC18 and a stereo pair of OC818.

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Disclaimer: Austrian Audio and DPA sent me the microphones for reviewing without any precondition or obligation to write positively about them. This is an honest presentation, driven by a genuine interest and desire to create a classical guitar microphone database.

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DPA Microphones

Austrian Audio

AEA TRP2 Microphone Preamp Review

A black canvas for your acoustic paintings.

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AEA designed "The Ribbon Preamp" to guarantee the best operation for their ribbon microphones. Equipped with +48 phantom, the TRP2 can power condenser and active ribbon microphones.

Built for the desk and the road

A simple but effective layout.

With retro looks and an elegant grey finish, I think it looks great on a rack or a desktop. Housed in a lightweight half-rack aluminium chassis, the TRP2 is fairly portable though, perfectly fitting on a remote recording session.

The TRP2 has two-channels with 85dB gain for stereo capture. Each one is equipped with a stepped gain stage (+7dB to +63dB) and variable output control (+22dB) for fine-tuning. Push buttons for phase reverse, a low-cut filter (12dB per octave from 100Hz) and +48 phantom, as well as 3 led level indicators per channel, are located in the front panel.

The preamp is powered by an external PSU that is connected to the rear panel where four XLRs are located as well. Two for the microphone inputs and two for the line outputs. No quarter-inch outputs for unbalanced connections, neither a DI input are available. AEA built a high-quality microphone preamp equipped with only the absolute essentials.

Fade to black

Huge amounts of clean gain.

The sound of the preamp is remarkably transparent and natural, with a very fast transient response for excellent dynamics. With ease, the TPR2 manages to pick up unsurpassed detail out of my classical guitar, while allowing a full-bodied portrayal, with a beautiful midrange, pleasing highs and controlled low-end.

One of the most alluring characteristics of the TRP2 is the incredibly quiet operation. The classical guitar, being a soft and subtle instrument, presents a challenge to record properly. The signal path, designed by Fred Forsell, is evident, the TRP2 maintains every detail and lets the notes fade out to total silence.

The operation of the TRP2 is straight forward and a neatly written manual includes plenty of useful information. The level indicator LED are sufficient for discerning that the levels are healthy. I think that the low-cut filters are set a little too high for my uses, but other than I have no complaints.

Can you handle the truth?

Precise control.

AEA's preamps don't try to complement the source. The true strength of the TRP2 lies in allowing the microphones to capture an honest image with exceptional precision. With an impressive 85dB of absolute clean gain, the preamp ensures outstanding performance and can capture even the quietest sounds.

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Alternatives

Priced a little lower, the DAV BG1 is an acclaimed preamp with a similar feature-set, low noise and high quality. In comparison, its sound is somewhat coloured, but that is neither good or bad. Lake people's MPA RS 01 is a straight-wire preamp in a similar form and function, worthy of consideration.

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Cons

• Low-cut filters are set a little too high for some uses

Pros

• Beautiful sound, from top to bottom

• Detailed, transparent, and natural sounding

• Impressive amounts of gain

• Very low noise

• Lightweight and portable Sturdy construction

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Some classical guitar recordings made with the AEA TRP2:

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AEA Ribbon Microphones

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