Blog | Recording Tips

Guitar Recording Tips

In the realm of in-the-box music production, the guitar stands out as a unicorn. Its unique tones and nuances are notoriously difficult to replicate with virtual instruments. For this reason, live-recorded guitars are essential for a professionally-produced sound. These guitars would ideally be recorded in a professional recording studio with a session musician supervised by an engineer. Though, for many music makers, this is out of reach. Due to the high cost of studio time and engineers' salaries, music makers are left with two options if they want to add live-recorded guitars to their tracks: use samples, or record themselves or their friends from home. If you're a music producer or artist, learning to record your guitar from home opens up a world of creative possibilities for your music. Instead of relying on the same overused samples as other producers and artists, you'll be able to add your own custom licks to your tracks. If you're a musician looking to drum up more session work, learning to record guitar from home grants you access to an invaluable income stream—remote gigs.

This section will walk through the basics for recording acoustic, electric, and bass guitar from your home studio. With the right gear, proper routing, and careful gain staging, anyone can achieve a pro-recorded sound from home.

The acoustic properties of the recording space can significantly affect the sound of the acoustic guitar. If possible, it's best to record acoustic guitars in a moderately sized room with controlled acoustics. Acoustic guitars sound best when their sound has space to develop, so it's ideal to place your mics at a distance in a room with rich, natural reverb.

But watch out! Rooms with poor acoustics, such as those with too much reverb, standing waves, or flutter echoes, can muddy the sound and make it challenging to capture a clean recording. If you're recording from home, it's unlikely that your room is professionally treated. In this case, you should start from closer mic distances and play louder to minimize background noise and room reverb. Although, make sure you experiment with further mic positions and different recording locations before you default to close-miking—your room might sound better than you think, even if it's untreated.

Make sure you record in the center of the room and avoid any walls or corners, which can cause unwanted reflections. You can also use a few different tricks to subtly treat your room without making any big investments in your home studio. Adding heavy furniture and blankets, bookshelves full of books, and homemade Rockwool acoustic panels will all help control room reflections.

Setting Up for Recording

Signal Chain

Whether you record in mono or stereo, or use a preamp, EQ, or compressor in front of your audio interface, your signal chain will generally follow the same basic setup. You'll record your acoustic guitar with one or more microphones, which will then run into a preamplifier that will be used to amplify the signal to line level (around -12dB to -6dB). Then, the signal will run through the A/D (Analog to Digital) converters on your audio interface and into your DAW for recording.

Even if you have a high-end vintage EQ or compressor, don't give in to the temptation to add it to all your recordings. No matter how great it sounds on the recording when auditioned individually, once it's added to the mix, there's a high likelihood that the analog coloration imparted by the hardware won't fit in. So unless requested otherwise, it's best to skip any external preamps, EQs, or compressors, and instead plug your mic directly into your audio interface and amplify the signal with the built-in clean preamp.

Microphone Choice + Placement

In terms of mic setup, there are a few different options you can pick between depending on your preferences and project specifications:

Mono (Single Mic)

The most basic setup for recording acoustic guitar is in mono with a single cardioid condenser microphone. Small diaphragm condensers are particularly popular for the task due to their ability to capture precise details and accurately represent the guitar's sound, although large diaphragms can also work well, offering a richer and more expressive tone. Dynamic mics can work, too, especially for particularly loud players, but condensers are generally preferred for their sensitivity and ability to capture the guitar's delicate high-frequency content.

Most microphones perform best at a moderate distance, and acoustic instruments need some space for their full sound to develop. Still, if your recording space is untreated and prone to issues or heavy reverb, you should try to keep the mic as close to the guitar as possible without causing the proximity effect to arise. Although placing the microphone directly in front of the sound hole might seem like a good idea, it often causes low-frequency rumble and overload. A recommended starting point is to place the microphone about 6–9 inches out and up from the guitar, pointing where the fretboard meets the body. This position provides a good balance between capturing the sound of the strings and the body of the guitar. For a more detailed and focused sound, you can place the microphone closer to the guitar, aiming it towards the 12th fret. This will capture more of the highs and accentuate the pick attack and finger noises. From here, you can experiment by angling the microphone towards the sound hole to produce more midrange and low-end power. You can also try recording closer to the guitar's body, below the bridge, for more mids and bass.

The ideal mic placement allows enough space for the sound of the guitar to develop. With stereo recording, this space has an even greater impact. It allows early reflections to reach the microphones at slightly different times than the initial sound from the guitar, creating a sense of depth and spaciousness and accurately simulating a live guitar sound.

This being said, sometimes the space you're recording in is less than ideal (and for certain styles of music, you don't really want to capture the sound of the room). Since this blog is focused on home recording, and many home studios lack acoustic treatment and soundproofing, we'll run through a couple of the most popular setups for close-miking your guitar in stereo.

Spaced Pair (A/B) Mic Setup
The most common stereo recording method is using a spaced pair of condenser mics to capture different aspects of the guitar's sound. Depending on your preference, these can be a matched pair or two different mics. Place both mics about 6–9 inches out and up from the guitar. Aim one of your mics toward the 12th fret to capture the highs and detail of the strings. Then, place a second mic halfway between the bridge and the end of the guitar, pointing at the body to capture the lower frequencies and body characteristics. Make sure to angle both mics directly at the guitar, as opposed to angling them inwards towards one another.

Unlike recording in mono, recording in stereo can introduce phase cancellation. Phase cancellation occurs when two microphones capture the same sound at slightly different times or from different positions, causing certain frequencies to interfere destructively. This can result in a thinner, weaker sound. To reduce phase cancellation, apply the “3:1 rule.” Ensure the distance between the two mics is at least three times the distance from each mic to the guitar (so, if your mics are 8 inches away from the guitar, make sure they are at least 24 inches away from each other). Also, make sure your mics are both placed the same distance away from the guitar. If one mic is substantially further away, it will receive the sound later than the other mic and cause issues.

X/Y (Coincident) Mic Setup
If the spaced pair mic setup isn't getting you the exact sound you're looking for, or you want to try something new, an X/Y setup is another great option for stereo recording. In the X/Y setup, two identical microphones are placed so that their capsules are offset at a 90º angle. The typical coincident X/Y setup places the microphones as close together as possible, stacked vertically. One microphone is typically aimed toward the 12th fret, while the other is aimed toward the bridge. Since the mics are stacked, you can move them around together to dial in the sweet spot. Start with the mics placed about 6–9 inches out and up from the guitar and adjust from there.

Since the coincident X/Y setup places the mics as close together as possible, sound arrives at each mic simultaneously, minimizing phase cancellation. X/Y recordings also tend to translate well to mono playback because the two microphones capture similar information. This mono compatibility ensures that the stereo recording retains its character and clarity when played through mono systems like phones and soundbars.

Recording with Your Acoustic Guitar's Built-In Pickup

If your guitar has a built-in piezo pickup and you have the extra channels available, you can plug in to the hi-Z (high impedance) input on your audio interface and record along with your mic setup. You can then try blending the extra recording with the main miked recording for some interesting results. Remember, this piezo recording should not replace the miked recording. Built-in pickups can sound thin and harsh, emphasizing the string attack while missing the body resonance and ambient qualities that make acoustic guitars sound full and vibrant. Though, if you need a quick scratch recording, plugging right in to your audio interface takes much less time than setting up and dialing in microphones.

Miking Best Practices

No two rooms, mics, or instruments are the same, so experimenting with mic placement is crucial. While there's no one 'right way' to place your microphones, there are some general rules you can follow while sculpting your sound. For example, moving the mic closer to the guitar will boost the lows and low-mids, while moving the mic further away will emphasize the highs. Facing the mic towards the sound hole will capture a fuller, bass-heavy sound, while facing the mic towards the fretboard will highlight the higher frequencies and capture more subtle details.

The more you record, the more useful these rules will become. As you gain experience, you'll get a feel for when to adjust each variable to capture the exact sound you're looking for. Experiment with different setups, distances, angles, and microphone types, and pay close attention to the results.

Note: All rules aside, make sure to use your ears and best judgement when adjusting your mics. At the end of the day, all that matters is that the recording sounds good in the mix.

Recording Acoustic Guitar for Performidi Projects

• Mind Mono vs. Stereo: Make sure you review the notes for each project and look for any mention of preferences around mono vs. stereo recording. If no preference is mentioned, the best practice is to record in stereo if your home recording setup is capable. This will give the Producer the flexibility to switch the recording to mono later on, if they want. If you record in mono, there's no way for the Producer to change the recording to stereo without degrading the audio quality.
• Always Get a Clean Recording: Producers expect you to send them a raw, clean recording without any compression or EQ added on the way in. Ideally, you should plug your mic in to a clean preamp (like the one on your audio interface) and use minimal gain to avoid any saturation or color. No matter how great your vintage tube preamp sounds, if it doesn't match the vibe of the Producer's track, they will never be able to use your recording. As long as you make sure to get a clean take, the Producer will have the flexibility to add their own effects later.
• Dial In Your Levels: Make sure you're mindful of your input levels. Aim for an ideal range of -12dB to -6dB. This will give you room to pick dynamically without causing any clipping and still allow you to maintain a high signal-to-noise ratio and clear sound. Make sure to dial up the input knob on your preamp when raising the signal level, instead of using the gain knob, as this will cause coloration.
• Place Your Mic Close to the Source: If you are recording from home, your room is unlikely to be professionally treated. If this is the case, when using a microphone, you should record as close as possible to the guitar without overloading the mic or causing a pronounced proximity effect.
• Trim Your Audio: Make sure you cut out any blank space at the beginning and end of your recording before uploading it to Performidi. This makes for a better listening experience on the Producer's end.
• Export Your Audio to a WAV File: WAV is a lossless, uncompressed format that preserves the highest audio quality. This ensures that the Producer receives the best possible sound fidelity, allowing them to work with the most detailed and accurate version of your recordings for mixing and mastering.

Once your guitar is plugged in, dial in your levels with your audio interface's built-in preamp. Then, prep your DAW for recording. Create an audio track and set your interface's hi-Z input as the track's input. Now, you're good-to-go!

Amplified Recording vs. Direct Recording

You might be thinking, "Shouldn't I record my guitar through an amplifier? Aren't guitars supposed to be amped? Isn't that how a guitar is supposed to sound?"

Recording through a guitar amp captures its specific sound and character, but limits you to the settings you choose at the time. Recording directly into your interface, on the other hand, offers more flexibility. Different amplifiers, pedals, and other effects can be auditioned and tested later to find the perfect fit for the song.

It's worth noting that when working with producers/artists and engineers, they will expect you to send them a clean recording. This gives them the ability to add their own effects, such as pedals and amp emulations, during the production and mixing processes. If you record through a mic'd amp without simultaneously recording a clean alternative, they might not be able to use your take at all, no matter how well you performed. If the color of your amp or guitar pedals doesn't match the rest of their mix, it's not something EQ and room reverbs can easily fix.

For this reason, the best practice is to always record a clean signal directly through a transparent, neutral preamp, like the ones included in most audio interfaces. Any additional recordings you send in could potentially be useful for the producer or engineer, but they are not typically required.

If you're producing your own music, you can follow the same reamping process in your home studio for a live-amped sound. First, connect the line out on your audio interface to a reamp box. Then connect the reamp box to your amplifier. After setting the levels on the reamp box so that you have a clear, undistorted signal outputting from your DAW through your amp, you can dial in your amp's settings. Then, once you get the amp tone you're looking for, you can start setting up your microphone (mono) or microphones (stereo) to record.

Note: When reamping, make sure you use a reamp box—don't plug the line out on your audio interface directly into your amp. Audio interfaces typically output a line-level signal, which is much stronger than the instrument-level signal that guitar amplifiers are designed to receive. Without a reamp box, sending a line-level signal to a guitar amp can result in unwanted distortion and an unmanageable signal level. A reamp box attenuates the line-level signal from the audio interface down to an instrument-level signal that the guitar amplifier expects.

Recording Electric Guitar for Performidi Projects

• Always Get a Clean Recording: Producers expect you to send them a raw, clean recording without any added effects. Rather than running your electric guitar through your pedalboard and amp, you should record directly into a clean preamp and use minimal gain to avoid any saturation or color. Whether you're multitracking or recording a single take, as long as you make sure to get a clean, unaffected recording, the Producer will have the flexibility to add their own effects later.
• Dial In Your Levels: Make sure you're mindful of your input levels. Aim for an ideal range of -12dB to -6dB. This will give you room to pick dynamically without causing any clipping and still allow you to maintain a high signal-to-noise ratio and clear sound. Make sure to dial up the input knob on your preamp when raising the signal level, instead of using the gain knob, as this will cause coloration.
• Trim Your Audio: Make sure you cut out any blank space at the beginning and end of your recording before uploading it to Performidi. This makes for a better listening experience on the Producer's end.
• Export Your Audio to a WAV File: WAV is a lossless, uncompressed format that preserves the highest audio quality. This ensures that the Producer receives the best possible sound fidelity, allowing them to work with the most detailed and accurate version of your recordings for mixing and mastering.

So, unless you're going for a vintage sound, you won't likely be using an amp or any pedals during recording. Most of the time, you can record your bass directly through your audio interface—no DI box, preamp, or signal splitter needed. An amp emulation plugin, as well as any other necessary processing, can be added afterwards to provide the drive and harmonics you'd expect from a live, amped bass.

Recording Bass Guitar for Performidi Projects

• Always Get a Clean Recording: Producers expect you to send them a raw, clean recording without any added effects. Rather than running your bass guitar through a mic'd amplifier, you should record directly into a clean preamp (like the one on your audio interface) and use minimal gain to avoid any saturation or color.
• Dial In Your Levels: Make sure you're mindful of your input levels. Aim for an ideal range of -12dB to -6dB. This will give you room to play dynamically without causing any clipping and still allow you to maintain a high signal-to-noise ratio and clear sound. Make sure to dial up the input knob on your preamp when raising the signal level, instead of using the gain knob, as this will cause coloration.
• Trim Your Audio: Make sure you cut out any blank space at the beginning and end of your recording before uploading it to Performidi. This makes for a better listening experience on the Producer's end.
• Export Your Audio to a WAV File: WAV is a lossless, uncompressed format that preserves the highest audio quality. This ensures that the Producer receives the best possible sound fidelity, allowing them to work with the most detailed and accurate version of your recordings for mixing and mastering.

Then, you need to set up two different tracks in your DAW:

1. an external MIDI track to store your MIDI data and trigger your synthesizer, and
2. an empty audio track to record your synth's playback.

With this setup, you can simultaneously use the MIDI track to trigger the synth's playback and record the resulting audio into your audio track. After connecting your external MIDI track to your instrument's MIDI channel, set your interface's line inputs as your audio track's inputs, and record.

Programming Your Synth

As discussed, the recording process for synthesizers is fairly simple. Connecting your synth to an audio interface, setting up a track in your DAW, and capturing the audio requires minimal technical expertise. However, the real artistry and complexity lies in two crucial areas: sound design and automation.

Sound Design: Crafting Your Unique Sound

In practice: There are no hard and fast sound design rules—there are a bunch of different ways you can get to a 'usable' sound and every synth is different—but there are a few general guidelines you can learn and follow to get to the sounds you're looking for more quickly. For example, typically, sounds based on sawtooth wave will be more sharp and buzzy, while a sound based on a sine wave will more smooth. A sound with a short attack and release will be percussive and staccato, while a sound with a lengthier attack and release will be more drawn out and less abrupt. Make sure you keep these types of guidelines in mind while getting acquainted with each new synth. Every synth's signal chain, envelope, filter, and VCA setup is slightly different, but if you learn to pick the right oscillators, get a feel for setting your envelopes, and learn what each frequency band sounds like and how each filter type affects the sound, you should be able to work with any synth.

Automation: Bringing Your Sound to Life

Automation is the process of recording changes to parameters over time, allowing you to create dynamic and evolving sounds. Essentially, it lets you tell your DAW which knobs to turn on your synth and when to turn them. It can transform a sequenced, static synth patch into a living, breathing part of your track that ebbs and flows along with the overall arrangement. Here are a few ways you can use automation with your synth:

• Automate the Filter
  • Dynamic Sweeps: Automate the filter cutoff frequency to create evolving textures in your sound. This can be used to gradually open up the filter during a build-up or close it down during a breakdown, adding movement and interest to your tracks.
  • Rhythmic Patterns: Use automation to create rhythmic filter patterns, syncing the changes to the tempo of your track. This technique is particularly effective in genres like electronic dance music, where rhythmic filter movements can drive the energy of the track.
• Automate the VCA
  • Volume Fades: Automate the VCA to create smooth volume fades. This can be useful for gradually introducing a sound into the mix or for creating swells and drops that add dynamic contrast to your track.
  • Panning Automation: Automate the VCA's panning parameter to move the sound around the stereo field. This can create a sense of space and movement, making your mix more immersive and interesting.
  • Gating Effects: Use automation to create gating effects by rapidly modulating the VCA's level. This can produce a stuttered or chopped sound, adding a rhythmic element to your synth parts.

For instance, gently increasing the filter cutoff during a verse and then sharply opening it up during the chorus can create a dramatic impact that enhances the emotional arc of your track. In contrast, adding a filter sweep to the middle of verse would sound jarring and abrupt, only distracting the listener.

In practice: Try combining multiple automated parameters to achieve complex, layered effects. For example, automating both the filter cutoff and VCA simultaneously can create powerful filter sweeps.

Recording Synthesizer for Performidi Projects

• Always Get a Clean Recording: Producers expect you to send them a raw, clean recording without any added effects or processing. Make sure you plug in directly to your audio interface and use minimal gain to avoid any saturation or color. Also, unless requested, avoid adding any of your synth's built-in effects like reverbs, delays, or distortions. This will give the Producer the flexibility to add and automate their own effects later on, if needed.
• Dial In Your Levels: Make sure you're mindful of your input levels. Aim for an ideal range of -12dB to -6dB. This will give your synth room to breathe without causing any clipping and still allow you to maintain a high signal-to-noise ratio and clear sound. Make sure to dial up the input knob on your preamp when raising the signal level, instead of pushing the gain knob, as this will cause coloration.
• Trim Your Audio: Make sure you cut out any blank space at the beginning and end of your recording before uploading it to Performidi. This makes for a better listening experience on the Producer's end.
• Export Your Audio to a WAV File: WAV is a lossless, uncompressed format that preserves the highest audio quality. This ensures that the Producer receives the best possible sound fidelity, allowing them to work with the most detailed and accurate version of your recordings for mixing and mastering.

The acoustics of your recording space can significantly affect the sound of your instrument. While a larger room with some reflective surfaces (like wooden floors and walls) is a great way to get a warm and spacious sound, it's not always the one-size-fits-all solution. Here's the nuance: stringed instruments sound best when their sound has space to develop, so distant mic placement in a naturally reverberant room can be ideal in many cases. But, since stringed instruments are relatively quiet, too large of a space with too much reverb has the potential to drown them out and reduce their clarity. Excessive reflections can also make violins and violas sound harsh and bright. On top of that, many styles of music call for a more focused and detailed string sound, which requires fairly dry, closer string recordings. A closer recording with less room reverb will also allow for more control over the sound during production and mixing.

So, when choosing your recording space for strings, consider the needs of your mix. Striking a balance between room reverb and detail will help you capture the sound you're after.

If you're recording from home, your recording space may be prone to background noise due to a lack of soundproofing or standing waves and flutter echoes due to a lack of acoustic treatment. These issues can make it challenging to capture a clean recording. If this is the case, you'll need to place your mics closer to the instrument. But, keep in mind that stringed instruments with higher registers, like violin and viola, can sound especially nasally and brittle when recorded up close, so it's important to allow at least some distance.

Make sure you record in the center of the room and avoid any walls or corners, which can cause unwanted reflections. You can also use a few different tricks to subtly treat your room without making any big investments in your home studio. Adding heavy furniture and blankets, bookshelves full of books, and homemade Rockwool acoustic panels will all help reduce standing waves and flutter echoes. You can also try recording during off-hours like late night or early morning if your recording space is located in a particularly noisy area.

Setting Up for Recording

Signal Chain

Whether you record in mono or stereo, or use a preamp, EQ, or compressor in front of your audio interface, your signal chain will generally follow the same basic setup. You'll record your instrument with one or more microphones, which will then run into a preamplifier that will be used to amplify the signal to line level (around -12dB to -6dB). Then, the signal will run through the A/D (Analog to Digital) converters on your audio interface and into your DAW for recording.

Even if you have a high-end vintage EQ or compressor, don't give in to the temptation to add it to all your recordings. No matter how great it sounds on the recording when auditioned individually, once it's added to the mix, there's a high likelihood that the analog coloration imparted by the hardware won't fit in. So unless requested otherwise, it's best to skip any external preamps, EQs, or compressors, and instead plug your mic directly into your audio interface and amplify the signal with the built-in clean preamp.

Microphone Choice + Placement

In terms of mic setup, there are a few different options you can pick between depending on your preferences and project specifications:

Mono (Single Mic)

The most basic setup for recording stringed instruments is in mono with a single cardioid condenser microphone. Stringed instruments are delicate, so capturing their full tonal range and high-frequency content requires a sensitive mic. For this reason, condenser mics tend to be the most popular choice. However, not all condensers are created equal. Avoid mics with hyped high frequencies, as they can make violins sound harsh. Instead, choose a condenser with a flat response for an accurate representation of the instrument.

Both large and small diaphragm condensers are solid choices, depending on your taste. Large diaphragm condensers are best-suited for capturing the full range of lower-voiced string instruments like cello and bass, thanks to their ability to reproduce lower frequencies accurately. They will also pick up more of the ambience from the room. If you happen to have a ribbon mic lying around, that could be a great choice, too. They exhibit many of the same desirable qualities as condensers but with a more smooth, velvety high end. Dynamic mics are typically avoided when recording strings, due to their lack of high-frequency sensitivity. At the end of the day, your mic selection should depend on what sounds best with your particular instrument and in your recording space.

Most mics perform best at a moderate distance. Still, as previously mentioned, if your recording space is prone to issues or lacks acoustic treatment, try to keep the mic as close to the instrument as possible without causing the proximity effect to arise. If you're a violinist or violist, take care not to subconsciously sway to the beat while you play, especially when close-miking. This can cause undesirable tonal variations as the high-frequency elements of the sound shift toward and away from the microphone.

Positioning your microphone for close-miking is a relatively simple process. Start by placing your mic about 12 inches above and in front of the instrument. Move the mic around until you find the 'sweet spot'—the best-sounding position for your instrument. You can test out different distances, vertical positions, and angles until the playback represents an accurate picture of your instrument's sound. Once you've located the 'sweet spot,' you're ready to record!

Stereo (Multiple Mics)

In many cases, recording strings in stereo is ideal because it mimics the natural way listeners perceive sound in a live setting. Human ears hear in stereo, allowing us to perceive spatial characteristics and directionality. When a sound typically heard in stereo, such as an acoustic instrument like a violin, is recorded in mono, it can disrupt the illusion of space in a mix. Mono recordings emit from a single point in the stereo field, making their sound feel flat and less immersive. This lack of spatial information can make it obvious that the sound is not naturally filling the space, diminishing the mix's depth and realism. On top of that, even if you add a reverb and stereo-doubling plugin to your mono recording, the true stereo effect is impossible to replicate in-the-box.

Spaced Pair (A/B) Mic Setup
The most common stereo recording method is using a spaced pair of cardioid condenser mics to capture different aspects of the instrument's sound. Depending on your preference, these can be a matched pair or two different mics. Place both mics about 12–24 inches above and away from the instrument, with the stereo image centered towards the area where the bow plays. One mic should face over the shoulder of the performer, in the general direction of the body of the instrument to pick up the lower end warmth and mid-range punch. The other mic should face towards the bottom of the fingerboard to capture the highs and detail of the strings. Make sure to angle both mics directly at the instrument, as opposed to angling them inwards towards one another.

Unlike recording in mono, recording in stereo can introduce phase cancellation. Phase cancellation occurs when two microphones capture the same sound at slightly different times or from different positions, causing certain frequencies to interfere destructively. This can result in a thinner, weaker sound. To reduce phase cancellation, apply the “3:1 rule.” Ensure the distance between the two mics is at least three times the distance from each mic to the instrument (so, if your mics are 12 inches away from the violin, make sure they are at least 36 inches away from each other). Also, make sure your mics are both placed the same distance away from the instrument. If one mic is substantially further away, it will receive the sound later than the other mic and cause issues.

X/Y (Coincident) Mic Setup
If the spaced pair mic setup isn't getting you the exact sound you're looking for, or you want to try something new, an X/Y setup is another great option for stereo recording. In the X/Y setup, two identical microphones are placed so that their capsules are offset at a 90º angle. The typical coincident X/Y setup places the microphones as close together as possible, stacked vertically. Place both mics about 12–24 inches above and away from the instrument, with the stereo image centered towards the area where the bow plays. Move the mics around until you find the 'sweet spot.' You can test out different distances, heights, and angles until the playback represents an accurate picture of your instrument's sound. Once you've located the 'sweet spot,' you're ready to record!

Since the coincident X/Y setup places the mics as close together as possible, sound arrives at each mic simultaneously, minimizing phase cancellation. X/Y recordings also tend to translate well to mono playback because the two microphones capture similar information. This mono compatibility ensures that the stereo recording retains its character and clarity when played through mono systems like phones and soundbars.

Miking Best Practices

No two rooms, mics, or instruments are the same, so experimenting with mic placement is crucial. While there's no one 'right way' to place your microphones, there are some general rules you can follow while sculpting your sound. For example, due to the proximity effect, moving the mic closer to the instrument will boost the lows and low-mids, while moving the mic further away will emphasize the highs. When close-miking, facing the mic towards the f-hole will capture a more powerful, boxier, bass-heavy sound, while facing the mic towards the fingerboard will highlight the higher frequencies and capture more subtle details. The further you move the mic away from the instrument, the more ambience and room noise you'll pick up, and vice versa.

The more you record, the more useful these rules will become. As you gain experience, you'll get a feel for when to adjust each variable to capture the exact sound you're looking for. Experiment with different setups, distances, angles, and microphone types, and pay close attention to the results.

Note: All rules aside, make sure to use your ears and best judgement when adjusting your mics. At the end of the day, all that matters is that the recording sounds good in the mix.

Recording Strings for Performidi Projects

• Mind Mono vs. Stereo: Make sure you review the notes for each project and look for any mention of preferences around mono vs. stereo recording. If no preference is mentioned, the best practice is to record in stereo if your home recording setup is capable. This will give the Producer the flexibility to switch the recording to mono later on, if they want. If you record in mono, there's no way for the Producer to change the recording to stereo without degrading the audio quality.
• Always Get a Clean Recording: Producers expect you to send them a raw, clean recording without any compression or EQ added on the way in. Ideally, you should plug your mic in to a clean preamp (like the one on your audio interface) and use minimal gain to avoid any saturation or color. No matter how great your vintage tube preamp sounds, if it doesn't match the vibe of the Producer's track, they will never be able to use your recording. As long as you make sure to get a clean take, the Producer will have the flexibility to add their own effects later.
• Dial In Your Levels: Make sure you're mindful of your input levels. Aim for an ideal range of -12dB to -6dB. This will give you room to play dynamically without causing any clipping and still allow you to maintain a high signal-to-noise ratio and clear sound. Make sure to dial up the input knob on your preamp when raising the signal level, instead of using the gain knob, as this will cause coloration.
• Place Your Mic Close to the Source: If you are recording from home, your room is unlikely to be professionally treated. If this is the case, when using a microphone, you should record as close as possible to the instrument without overloading the mic or causing a pronounced proximity effect.
• Trim Your Audio: Make sure you cut out any blank space at the beginning and end of your recording before uploading it to Performidi. This makes for a better listening experience on the Producer's end.
• Export Your Audio to a WAV File: WAV is a lossless, uncompressed format that preserves the highest audio quality. This ensures that the Producer receives the best possible sound fidelity, allowing them to work with the most detailed and accurate version of your recordings for mixing and mastering.

As with any source recorded through a microphone, the acoustic properties of the recording space can significantly impact the sound of brass and woodwind instruments.

Here's a little-known fact about brass instruments... they're loud! This means highly reflective surfaces like bare wooden floors and walls can be problematic for brass recordings. These surfaces can create a harsh and piercing sound. A room with somewhat controlled acoustics, achieved by using soundproofing materials or diffusers, helps to tame excessive reflections and maintain a clean and focused sound. And here's the upside to brass instruments' high sound pressure levels (SPLs): their signal tends not to have any clarity issues, cutting through background noise and room reverb with ease.

Woodwinds are generally quieter and more delicate than brass instruments and are capable of producing higher pitches, which makes them well-suited for smaller, less reflective spaces. Their lack of volume means that too much room reverb can drown them out and reduce their clarity. Also, due to their higher register, excessive reflections can make woodwinds sound thin or shrill. A room with controlled acoustics, where reflections are balanced, and there is minimal unwanted reverb, is ideal. This allows the intricate details of the woodwind's sound to come through clearly.

Just like any other acoustic instrument, brass and woodwinds need space for their sound to develop. This should be taken into consideration during mic placement. But watch out! Rooms with poor acoustics, such as those with too much reverb, standing waves, or flutter echoes, can muddy the sound and make it challenging to capture a clean recording. If you're recording from home, it's unlikely that your room is professionally treated. In this case, you should start from closer mic distances and play louder to minimize background noise and room reverb. However, make sure you experiment with further mic positions and different recording locations before you default to close-miking—your room might sound better than you think, even if it's untreated.

By default, you should record in the center of the room and avoid any walls or corners, which can cause unwanted reflections. You can also use a few different tricks to subtly treat your room without making any big investments in your home studio. Adding heavy furniture and blankets, bookshelves full of books, and homemade Rockwool acoustic panels will all help control room reflections.

Setting Up for Recording

Signal Chain

Whether you record in mono or stereo, or use a preamp, EQ, or compressor in front of your audio interface, your signal chain will generally follow the same basic setup. You'll record your instrument with one or more microphones, which will then run into a preamplifier that will be used to amplify the signal to line level (around -12dB to -6dB). Then, the signal will run through the A/D (Analog to Digital) converters on your audio interface and into your DAW for recording.

Even if you have a high-end vintage EQ or compressor, don't give in to the temptation to add it to all your recordings. No matter how great it sounds on the recording when auditioned individually, once it's added to the mix, there's a high likelihood that the analog coloration imparted by the hardware won't fit in. So unless requested otherwise, it's best to skip any external preamps, EQs, or compressors, and instead plug your mic directly into your audio interface and amplify the signal with the built-in clean preamp.

Microphone Choice + Placement

We've explored how the differing construction and sound production methods of brass and woodwinds affect their recording environment. But what about the microphone setup?

Instrument type plays a crucial role here, influencing the choice between mono and stereo, the type of microphone you use, the distance you place it from the instrument, and even the direction it faces. All depend on whether you're dealing with booming brass instruments or delicate woodwinds.

Note: Sax and brass players often move around while playing, especially when they're feeling the music. This can cause issues as the microphone picks up fluctuations in level and sound quality. Increasing the microphone distance can help minimize these variations, and while completely eliminating this issue might be impossible, simply letting the musician know about it beforehand can also make a big difference.

Brass

Brass instruments are like loudspeakers, blasting sound straight out of their bells. Because the sound of brass instruments emits from a single point, solo brass performances are more typically recorded in mono. This ensures a clear and focused capture of the instrument's sound without the risk of phase issues that can arise with stereo miking. However, a stereo mic setup can be used to capture the room ambiance and provide a sense of space and depth, especially if the performance is being recorded in a space with pleasing acoustics. Ultimately, the choice between mono and stereo depends on the desired sound and the recording environment.

With brass instruments, mic choice comes down to a balance between handling loud transients and capturing the desired sonic detail. Large-diaphragm condenser microphones will capture the most detail, but they need to be able to handle the high peak SPLs that brass instruments often produce. Dynamic microphones are a solid choice in this regard, consistently handling high SPLs without distortion. Ribbon microphones are also great on brass instruments. They exhibit many of the same desirable qualities as condensers but with a more smooth, velvety high end. However, make sure to place your ribbon mics at a safe distance away from the instrument and use a pop filter to protect their sensitive diaphragms. At the end of the day, the goal is to find a mic with a relatively flat response that with capture an accurate picture of your instrument without any issues like shrill highs or low-end rumble.

Start with your mic (or mics) placed 2 to 5 feet from the instrument, aimed at the bell, and turned slightly off-axis. This off-axis positioning helps tame some of the harshness that can come from directly facing the bell, while still capturing the instrument's core sound.

For woodwinds, large diaphragm condensers tend to be the go-to choice due to their ability to capture clear high-end detail. Make sure the mic has a flat frequency response, as hyped highs or high-mids can make woodwinds sound shrill. Ribbon mics can also work well and can be positioned more closely to woodwinds than to brass instruments without causing any damage to their diaphragms. Since woodwinds are quieter than brass instruments, dynamic mics are generally unnecessary and tend to miss some of the intricacies and high-end content of the sound.

Unlike brass instruments with their powerful, directional sound, clarinets and similar instruments project their high frequencies in a beam from the bell, while the lower tones radiate more openly. To capture a balanced and natural clarinet sound, the microphone placement should allow the instrument's high frequencies to reflect off the floor and blend with the lower tones before they reach the mics. Start with your mics placed about 2 to 4 feet out in front, roughly level with the center the instrument. Instead of pointing directly at the bell, aim slightly upwards towards the holes on the lower part of the instrument's body. This will give the instrument's sound enough space to develop and blend together. Aiming the mic at the bell, on the other hand, will capture a disproportionate level of high frequencies, resulting in a shrill, weak sound.

Like with clarinets, when recording saxophone, your microphone placement needs to allow the more directional, powerful highs to blend with the lower tones that radiate from the instrument's body before they reach the mics. The only major difference in setup will be the angle of the microphones, since the saxophone's bell faces upwards instead of downwards. Place your mics about 2 to 4 feet up and in front, roughly level with the center the instrument.

Flutes require a slightly different approach due to their horizontal playing position. Place your microphones anywhere from 1 to 3 feet away, slightly above and about half way along the length of the instrument.

Miking Best Practices

No two rooms, mics, or instruments are the same, so experimenting with mic placement is crucial. While there's no one 'right way' to place your microphones, there are some general rules you can follow while sculpting your sound. For example, due to the proximity effect, moving the mic closer to the instrument will boost the lows and low-mids, while moving the mic further away will emphasize the highs. Angling the microphone toward the instrument's bell will result in a crisp, focused, upfront sound. Alternatively, angling it away from the bell will result in a more mellow, laid-back character.

The more you record, the more useful these rules will become. As you gain experience, you'll get a feel for when to adjust each variable to capture the exact sound you're looking for. Experiment with different setups, distances, angles, and microphone types, and pay close attention to the results.

Note: All rules aside, make sure to use your ears and best judgement when adjusting your mics. At the end of the day, all that matters is that the recording sounds good in the mix.

Recording Brass and Woodwinds for Performidi Projects

• Mind Mono vs. Stereo: Make sure you review the notes for each project and look for any mention of preferences around mono vs. stereo recording. If no preference is mentioned, follow the guidelines set in the previous section based on instrument type. Use the project notes and your best judgment to determine if you should use a mono or stereo setup. Don't worry... if the Producer likes your performance, they can always request a stereo revision if needed.
• Always Get a Clean Recording: Producers expect you to send them a raw, clean recording without any compression or EQ added on the way in. Ideally, you should plug your mic in to a clean preamp (like the one on your audio interface) and use minimal gain to avoid any saturation or color. No matter how great your vintage tube preamp sounds, if it doesn't match the vibe of the Producer's track, they will never be able to use your recording. As long as you make sure to get a clean take, the Producer will have the flexibility to add their own effects later.
• Dial In Your Levels: Make sure you're mindful of your input levels. Aim for an ideal range of -12dB to -6dB. This will give you room to play dynamically without causing any clipping and still allow you to maintain a high signal-to-noise ratio and clear sound. Make sure to dial up the input knob on your preamp when raising the signal level, instead of using the gain knob, as this will cause coloration.
• Place Your Mic Close to the Source: If you are recording from home, your room is unlikely to be professionally treated. If this is the case, when using a microphone, you should record as close as possible to the instrument without overloading the mic or causing a pronounced proximity effect.
• Trim Your Audio: Make sure you cut out any blank space at the beginning and end of your recording before uploading it to Performidi. This makes for a better listening experience on the Producer's end.
• Export Your Audio to a WAV File: WAV is a lossless, uncompressed format that preserves the highest audio quality. This ensures that the Producer receives the best possible sound fidelity, allowing them to work with the most detailed and accurate version of your recordings for mixing and mastering.

Piano Recording Tips

For acoustic instruments, like grand and upright pianos, you'll typically want to record in the largest room available, as small spaces can cause a lot of unwanted reflections and sound unnatural at times. Try to position the piano as close as you can to the center of the room and avoid recording in corners or next to walls to ensure your signal remains balanced and unaffected by room reflections.

Sometimes, the recording space is 'not-so-great'. It could be located in a noisy area, or prone to excessive reverb, bass buildup, or harsh highs. Luckily, there are a few tricks you can use to subtly treat your room without making any big investments in your home studio. Adding heavy furniture and blankets, bookshelves full of books, and homemade Rockwool acoustic panels will all help reduce harsh mids and highs and tame excessive reverb. You can also try recording during off-hours like late night or early morning if your recording space is in a busy area.

If all else fails, you can always move your mic closer to the piano. This will help increase your signal-to-noise ratio, cutting down on unwanted background noise and reverb. Even when close-miking, you should try to leave at least some distance between the mic and piano to ensure the sound has space to develop.

Setting Up for Recording

Signal Chain

Whether you record in mono or stereo, or use a preamp, EQ, or compressor in front of your audio interface, your signal chain will generally follow the same basic setup. You'll record your piano with one or more microphones, which will then run into a preamplifier that will be used to amplify the signal to line level (around -12dB to -6dB). Then, the signal will run through the A/D (Analog to Digital) converters on your audio interface and into your DAW for recording.

Even if you have a high-end vintage EQ or compressor, don't give in to the temptation to add it to all your recordings. No matter how great it sounds on the recording when auditioned individually, once it's added to the mix, there's a high likelihood that the analog coloration imparted by the hardware won't fit in. So unless requested otherwise, it's best to skip any external preamps, EQs, or compressors, and instead plug your mic directly into your audio interface and amplify the signal with the built-in clean preamp.

Microphone Choice + Placement

Pianos produce a wide range of sounds, from the low rumble of a bass note (around 27.5 Hz) to the bright sparkle of a high note (around 4186 Hz). Dynamic mics can struggle to capture the piano's high frequencies, resulting in a muffled sound (with some exceptions). Condenser and ribbon mics, on the other hand, are generally better suited for pianos because they can capture the full frequency spectrum.

This being said, you can get great results recording piano with a huge variety of different mic setups—two large diaphragm or small diaphragm condenser mics, a single small diaphragm omnidirectional condenser mic, a pair of ribbon mics combined with a dynamic mic—at the end of the day, the exact setup isn’t that important, as long as you like the way the results sound on your song. Here are some guidelines you can follow to get to a good starting point and dial in your mic setup more quickly:

• Stereo is King: Pianos are almost always recorded in stereo using two or three microphones. This gives the listener a sense of space and creates a wider, more natural sound compared to a mono recording. It also provides the producer and engineer with more options during the production and mixing processes. Typically, when recording mainstream genres like pop and rock, engineers choose stereo condensers for a wide, commercially polished sound.
• Try Condensers to Start: Your mic selection depends on the particular needs of your song and mix, above all else. It will also likely be heavily influenced by your genre: you would rarely record a jazz piano take with a mono dynamic mic. Be that as it may, unless you have an exact mic in mind, condenser mics tend to be the best starting point for pianos. Condenser mics capture the full spectrum of your piano's sound, including subtle details and delicate high frequencies. They often impart a pleasant character and help your piano cut through the mix with their high frequently lift. If your condenser sounds too bright or is adding too much color to the high end, you can also try ribbon mics. They impart a vintage character and provide a warmer, smoother, and sometimes darker sound. They tend to capture a more natural, ‘true’ representation of the source when compared to the ‘hyped’ high end of condensers.

• Mic Placement Depends on the Project: The microphone placement you choose depends on your desired sound. For genres like pop and rock, microphones are typically placed closer to the piano (6 to 12 inches away). In some cases, they might be positioned even closer (as long as the mics aren't being overloaded) and aimed at the hammers. This emphasizes the attack and brightness of the notes and results in a tighter, more immediate response. In jazz recordings, as well as other genres like R&B and singer-songwriter, microphones are positioned slightly farther back, outside the rim of the instrument, for a warmer, more spacious, natural sound.
• Dry is the Way to Go: Unless you’re recording in a professionally treated room, you should aim for a dry recording with minimal room noise. Reverb will be added later in post-production to create the desired ambiance. If you have high-end rack gear and want to do some multitrack recording, all power to you. Just make sure that you record a dry track through a high-quality, clean preamp and mic setup that only minimally colors the sound.
• Stereo vs. Mono: Piano recordings are typically presented in stereo. When collaborating from home, producers and engineers will typically expect to receive a stereo recording. However, for complex mixes, a mono piano track might cut through better. This is why, if you have the equipment available, you should always multitrack record in both stereo and mono with 3 or more microphones.

Typical Mic Placement for Pop and Rock Piano

Recording Acoustic Piano for Performidi Projects

• Mind Mono vs. Stereo: Make sure you review the notes for each project and look for any mention of preferences around mono vs. stereo recording. If no preference is mentioned, the best practice is to record in stereo if your home recording setup is capable. This will give the Producer the flexibility to switch the recording to mono later on, if they want. If you record in mono, there's no way for the Producer to change the recording to stereo without degrading the audio quality.
• Always Get a Clean Recording: Producers expect you to send them a raw, clean recording without any compression or EQ added on the way in. Ideally, you should plug your mic in to a clean preamp (like the one on your audio interface) and use minimal gain to avoid any saturation or color. No matter how great your vintage tube preamp sounds, if it doesn't match the vibe of the Producer's track, they will never be able to use your recording. As long as you make sure to get a clean take, the Producer will have the flexibility to add their own effects later.
• Dial In Your Levels: Make sure you're mindful of your input levels. Aim for an ideal range of -12dB to -6dB. This will give you room to play dynamically without causing any clipping and still allow you to maintain a high signal-to-noise ratio and clear sound. Make sure to dial up the input knob on your preamp when raising the signal level, instead of using the gain knob, as this will cause coloration.
• Place Your Mic Close to the Source: If you are recording from home, your room is unlikely to be professionally treated. If this is the case, when using a microphone, you should record as close as possible to the instrument without overloading the mic or causing a pronounced proximity effect.
• Trim Your Audio: Make sure you cut out any blank space at the beginning and end of your recording before uploading it to Performidi. This makes for a better listening experience on the Producer's end.
• Export Your Audio to a WAV File: WAV is a lossless, uncompressed format that preserves the highest audio quality. This ensures that the Producer receives the best possible sound fidelity, allowing them to work with the most detailed and accurate version of your recordings for mixing and mastering.

Recording Electric Piano for Performidi Projects

• Always Get a Clean Recording: Producers expect you to send them a raw, clean recording without any added effects. Whether you record through your e-piano's audio outputs or mic its built in-speaker, you should plug in to a clean preamp (like the one on your audio interface) and use minimal gain to avoid any saturation or color. No matter how great your vintage tube preamp sounds, if it doesn't match the vibe of the Producer's track, they will never be able to use your recording. Whether you're multitracking or recording a single take, as long as you make sure to get a clean take, the Producer will have the flexibility to add their own effects later.
• Dial In Your Levels: Make sure you're mindful of your input levels. Aim for an ideal range of -12dB to -6dB. This will give you room to perform dynamically without causing any clipping and still allow you to maintain a high signal-to-noise ratio and clear sound. Make sure to dial up the input knob on your preamp when raising the signal level, instead of using the gain knob, as this will cause coloration.
• Place Your Mic Close to the Source: If you are recording from home, your room is unlikely to be professionally treated. If this is the case, when using a microphone, you should record as close as possible to the source without overloading the mic or causing a pronounced proximity effect. If your e-piano has a built-in speaker, make sure you place the mic or mics as close you can.
• Trim Your Audio: Make sure you cut out any blank space at the beginning and end of your recording before uploading it to Performidi. This makes for a better listening experience on the Producer's end.
• Export Your Audio to a WAV File: WAV is a lossless, uncompressed format that preserves the highest audio quality. This ensures that the Producer receives the best possible sound fidelity, allowing them to work with the most detailed and accurate version of your recordings for mixing and mastering.

Final Note ♪

This advice should provide you with some general guidelines you can follow during mic setup and recording. It's meant to be a starting point. You'll have to experiment to get the optimal setup for your unique room, instruments, mics, and preamps. Once you get your setup dialed in, keep it that way, if you have the mics to spare. No need to waste time on mic placement or gain staging.