Capturing the True Voice of Your Guitar: Recording Solo Acoustic in Detail
Recording solo acoustic guitar is both a science and an art; a delicate balance between the player, the instrument, the room, and the microphone. When everything aligns, you’re rewarded with a sound that feels alive. It is full of air, wood, and touch. Today, let’s look at how to capture that magic, using a range of microphones, positioning techniques, and a solid in-the-box chain in Cubase ( or your DAW of choice) to help your recordings translate beautifully.
1. Start with the Source: You and the Room
Before we even reach for a mic, it’s worth remembering that the majority of your tone comes from your playing, your instrument, and your space.
A well-balanced performance – dynamics controlled by the fingers, not post-processing – will always mix more naturally. Then there’s the room: even the best mic can’t disguise a boxy, untreated space. And EQ is not the ultimate panacea either.
If you’re recording at home, a few broadband absorbers or thick panels behind and beside you will do wonders. A rug beneath the mic stand and a soft surface (like a couch or blanket) behind the player help tame reflections.
2. Choosing the Right Microphone for the Job
Every microphone paints a different picture of your guitar. Here’s a breakdown of some versatile options (that I own) you might reach for:
RØDE K2 (Tube Condenser)
With variable polar patterns, the K2 is rich, lush, and detailed; ideal for when you want the recording to feel “larger than life.” Try it in cardioid mode about 10 inches from the 12th fret, or blend it with a second mic near the bridge for extra body.
RØDE NTR (Ribbon Mic)
A figure-8 ribbon captures the natural warmth and roundness of an acoustic’s body, with a smooth high-end that flatters bright guitars. Perfect if your instrument leans toward the sparkly side. Place it about 12–16 inches off the 12th fret, angled slightly toward the sound hole.
Neumann KM184 (Small Diaphragm Condenser)
Crisp, articulate, and honest; it is a modern studio standard. A single KM184 will give you a true representation of the instrument, while a matched pair opens up beautiful stereo possibilities. Perfect for fingerstyle or percussive playing where detail is everything.
- Sontronics STC-1S (Matched Pair Small Diaphragm Condensers)
A cost-effective but highly musical option for stereo work. These can sound gorgeous in an X/Y or ORTF configuration, offering a wide but focused stereo image.
3. Mic Pairing and Positioning Options
Single Mic Setup:
If you’re using just one microphone, start with the classic “12th fret” position: aim the mic between the neck and body joint, about 25–35 centimetres away. This captures a natural balance of warmth and articulation.
Stereo Setup Options:
- X/Y Configuration: Two small-diaphragm condensers (like the Sontronics or KM184s) angled at 90° to 110°, capsules almost touching. Great mono compatibility and tight imaging.
- ORTF Setup: Mics spaced 17 centimetres apart, angled at 110°. Offers a bit more width and ambience.
- Mid-Side (MS): Pair a cardioid mic (like the KM184) with the RØDE NTR in figure-8. This combination is powerful: you can adjust stereo width after recording.
- Spaced Pair: One mic near the 12th fret, another near the bridge, each 50-75 centimetres from the guitar. More depth, but watch for phase issues; always check in mono!
4. Gain Staging and Preamps
An external channel strip (like a Neve 1073, Avalon VT-737, or Focusrite ISA One) handles the front-end of your sound:
- Mic preamp → gives your microphone the right gain and colour.
- EQ / Compression (if included) → shapes the sound before it ever hits your DAW.
- The goal here is usually to commit to a tone early – warmth, character, or a particular vibe you know you’ll want in the final mix.
So if you’re already using an external strip, you’re typically getting:
✅ High-quality analog gain
✅ Subtle harmonic color or saturation
✅ Possibly analog EQ or compression that “rounds off” transients or tames peaks beautifully.
If you’re using a ribbon like the NTR, ensure you’ve got enough clean gain — the Focusrite preamps handle this well, but an inline booster (like a Cloudlifter) can help bring the signal up without noise.
5. Building Your Plugin Chain in Cubase
Once the signal is in the box, subtlety is key. The idea isn’t to fix the guitar, but to polish what’s already beautiful.
Here’s a dependable starting chain:
- High-Pass Filter (EQ): Roll off everything below 70–80Hz to remove rumble or foot noise.
- Gentle Compression: A smooth optical compressor (like Cubase’s Tube Compressor) with a 3:1 ratio, slow attack, and medium release. Aim for 2–3dB of gain reduction on peaks.
- EQ (Fine Shaping):
- A small dip around 200–250Hz can clear muddiness.
- A gentle boost around 8–10kHz adds air and sparkle.
These are both merely indicative of common practices. The EQ is not a one size fits all solution, and certain guitars and the environment and manner in which they are recorded may require something drastically different.
- Reverb: A short plate or small room reverb. enough to add space without washing out detail. 1.2–1.6s decay is often plenty.
Once again, this is a safe and predictable starting point. Depending on the piece I am recording, I may opt for something like a hall or large chamber setting with long decay. - Stereo Enhancer (Optional): If you’re mixing a stereo pair, a touch of width can make the guitar feel immersive. Use sparingly.
If the tone still needs subtle glue, a mastering-style limiter at the end of your chain can even out dynamics without squashing your natural performance.
6. Final Thoughts: Feel First, Gear Second
Recording solo acoustic guitar is all about feel. The gear, the mics, and the plugins are tools to serve that emotional connection between the player and the listener. Whether you’re capturing the delicate roll of a Travis-picked bass line or the harmonic shimmer of open tunings, trust your ears above all else.