I panned the neck and body mics to opposite sides of the stereo image to give some width, and also mixed in a 20ms impulse-response reverb taken from a small portable radio - the latter providing more upper-spectrum harmonic complexity, as well as filling in the centre of the stereo image a little. The multi-band Transient module in Izotope's Alloy allowed me to reduce the low-end resonances a little further too, by increasing Attack and decreasing Sustain below 230Hz. To rein in some of the picking transients and string rattle, I applied 3-5dB of fairly fast 3:1 compression from Melda's MCompressor, as well as running the parts through Toneboosters TB_Ferox tape emulation, starting with the 'Crunchy And Warm' preset and tweaking its Saturation and High Cut controls to taste. Because of the tuning problems on the original recordings, I deliberately thinned out their low end for the remix. Here are the original guitar parts exactly how they appear in my final remix. However, despite the lack of bass boost, the low end is nonetheless beautifully extended, which is another oft-stated advantage of omni polar patterns in general. The omnidirectional pickup pattern also helps here, picking up a better balanced impression of the instrument's frequency dispersion and avoiding the proximity-effect bass boost typical of directional mics when used at such close quarters. The mic was positioned around the 16th fret, which keeps string buzz to a minimum, but care has clearly been take to avoid picking up too much soundhole resonance, because the low end of the sound is solid and consistent. The guitar was recorded using an omnidirectional Oktava MK012 small-diaphragm condenser mic, about nine inches away from the guitar and mounted in a Studiospares RED110 baffle screen to reduce unwanted room ambience. This is how Joe Lonsdale of Joe Public Studios rerecorded the song section you heard in the previous AcGtr example files. As a result, I didn't end up using it at all in my remix. As with most DI signals, this is a pretty lifeless sound, and not much use for studio production purposes if you're after a fairly natural sound. This is the DI feed that was recorded alongside the mics in the first two AcGtr example files. The sourness of this particular instrument's tuning is most obvious in this example too, because it favours those low-register notes which suffer the biggest problems in this respect. To hear this most clearly, try high-pass filtering this file in your own DAW at around 150Hz to remove the low resonance, so you can focus on what's left over. This mic was positioned fairly close to the instrument's sound hole, and picks up rather a woolly tone as a result, with lots of low resonance and not much real mid-range density. Despite the distance from the body of the instrument, there is also some unappealing sporadic booming resonance on some of the low notes, and this gives the strums a rather murky onset 'thud' from time to time too.
Although this signal provides some useful string 'jangle', the position close to the fretboard does catch rather a lot of fret buzz, especially on the lower notes. This audio example shows what the mic by the instrument's neck sounded like. The main acoustic-guitar recording on the original multitrack was recorded with two mics and a DI simultaneously.
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