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Comments
Why not begin with an all-at-once performance? Think of it as a guide.
Next, tell the performer that, in the interests of a strong finished sound, it will be necessary to double track the vocal as an overdub (sans guitar). With that done, ask for the guitar part to be double-tracked.
My bias is towards a slightly rough sounding, compelling performance rather than a beautiful recording of a gutless performance.
I note that the SOS article predates the L.R. Baggs Anthem and Lyric Tru-Mic transducer systems. In my opinion, these sound better than any of the products mentioned in the sidebar column. Unfortunately, being microphone-based, these systems will detect unwanted sounds from the surrounding air and physical impacts against the guitar body.
In a multi-track recording situation, I would take the L. R. Baggs system signal in addition to all the other microphones.
On a general level, I agree with the SOS contributor about the artificial tone derived from under saddle transducers.
Last month, I worked on a budget electro-acoustic guitar with a laminate soundboard and a moulded plastic back. That really did sound *plasticky*. Having said this, in some circumstances, that sound could be exactly what some music requires.
My condenser vocal mic picks up the acoustic guitar as well as the drum pads.
I can't really isolate the vox mic so we are going to have to overdub all vocals.
But the playing is all live,we will probably overdub the acoustic with the vox mic to augment it's DI'd live take.
If you actually want to record an acoustic guitar and vox live, I would use a large diaphram condenser mic placed at the singers throat height, pointing downwards towards the neck/body join,maybe one to two feet away.
Thanks for sharing, there is no right way, but lots of different ways to record, that's why I love forums like this one and Sound on Sound, the ONLY magazine I buy anymore