I'm in the process of recording our last alt-rock song before sending it to master. This particular song has a very familiar vibe as the Coldplay - Yellow song has. The intro acoustic guitar on the Coldplay song is very heavily compressed and lows gone, and that type of sound would fit perfectly in our track!! All the guides and online tips suggest that I should record one track with DI and one track with a condenser microphone on fret 12.. But my own logic says I can just settle with a DI recording through my Kemper for this particular usage.. That I don't need an extra micced track to mud up my mix.. If you listenin to Coldplay - Yellow, would you say the Kemper alone can achieve this, or would you have a micced track aswell? If only Kemper, should I go DI cab bypass, or should I run it through a simulated amp?
Ken Nelson (who recorded Parachutes) on recording acoustic guitars:
"I don't like the sound of DI'd acoustic guitar. I'll usually use KM84s, again, or a U87. They're all good mics, it's just a case of placing them. What I tend to do sometimes is have something like a Km84cardioid mic, and I'll have say a 414 set on figure-of-eight as a room mic, that way you get a bit of the room sound."
KEN NELSON: Recording Coldplay's Parachutes
Michael Brauer about mixing Coldplay acoustic guitars:
"On the acoustic guitar I did what I normally do, which is to send it through my acoustic patch, an API 525 going into an API 5502. That's a great combo and I have been using that for years. It makes the acoustic guitar very natural and full and gives it great presence without it sounding processed. In this song it's not very evident, because the acoustic guitar isn't very important, but, for example, on Parachutes the acoustic is very important, and I used the patch back then."
Secrets Of The Mix Engineers: Michael Brauer
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The nicest acoustic guitar mic's I've ever heard, was a pair of Neumann KM184's. One pointed at an angle at the 12th fret towards the sound hole, and the other pointed towards the bridge. If you could rent a pair of those for the recording, you'd be way ahead of the game.
I've had songs and instrumentals signed by publishers with the acoustic guitar (and vocal, for that matter) captured with an AKG C3000 and/or an $80 large diaphragm condenser mic from Guitar Center, using the preamp in my interface.
I use a Rode NT-1 (or sometimes a newer NT-1A) roughly 8 inches off the guitar and pointed at the sound hole from the 12th fret (if you position it at the lower bout it sounds okay but your arm keeps swinging between the guitar and the mic, causing interference). I then have a pair of 184s set very wide in the room, about 30 feet apart, pointing in at the guitar. I've been happy with the blend I get of those three, but I put a lot of work into the room acoustics before that could work.
That said, right now you're focusing on acoustic. If the AKG doesn't give you want you want, the Rode is, as they said in the article, a good alternative. They also list a few other good ones. Lots of great inexpensive mics out there these days. But I'd definitely try your AKG before spending any money.
So I tried recording with my AKG P200 and ran an insane compressor on it afterwards.. I got it to sound exactly how I wanted! Thanks for the tip guys.. So lesson learned to never ever record acoustic guitar with DI
As with all things recording, that really depends on what you're going for. While I prefer the sound of a miked acoustic and probably wouldn't use DI as my only sound source, I wouldn't apply that rule as an absolute.
1. When discussing acoustic guitar for recording, the first topic should be room treatment. Where are you recording? If the walls aren't treated, any mic, KM84, U87, will sound like crap (due to the reverberations sound canceling.) So WHERE you record is of the most importance. You want dead space. Say, a walk-in closet if nothing else. Using a U87's Figure-8 in an untreated room is a disaster.
2. When discussing mics for acoustic, it's more important to know what the preamp is. Typically clean ones are best for most people who want a modern sound if not already doing solo acoustic. (i.e. Flamenco) If you got a so-so mic going to a so-so preamp or a colored preamp (i.e. tube preamp or Neve clone) then you got more than mic problems. The pairing (much like Guitar/Amp pairings) is where the sound is at.
6. DI. So... if you don't have a treated room, a good mic-preamp pairing, then I'd say try DI with the Kemper, but close mic your acoustic to get the fret noise and mix that in for more realism. Trial a few Kemper presets to see what you like, don't like. What sounds bad in person may sound great in a mix. Remember: Thin is best, not a full bodied sound. That makes a mix sound muddy.
I've had really good results using (KPA) profiles taken of a ToneDexter (look it up). Using a DI and a microphone (in my case a KM184) the TD 'listens' to the instrument being played and alters the DI sound to make it sound like the mic - It's uncanny. The room acoustics are apparently not relevant.
It includes three tracks previously released by the band: "Sparks" (from Parachutes), "Careful Where You Stand" (B-Side of "Shiver"), and "See You Soon" (from The Blue Room E.P.). An acoustic version of "Yellow", which was originally broadcasted on the Jo Whiley Lunchtime Social on BBC Radio 1 on 4 September 2000 is also included on the EP. The music video for the song in QuickTime format is featured on the enhanced CD version.[2]
The single, accompanied by its TV reception through its music video, received massive radio airplay, particularly at BBC Radio 1. The reaction was chiefly positive and even the newly revitalised BBC Radio 2 played the track repeatedly. This heavy rotation continued for months after its release, eventually ending as 2000's most-aired song.[14] A month after the album was released in the United States via record label Nettwerk, "Yellow" was used as the theme song for ABC autumn television promotions.[16][19] The song was also used as the theme music for The Cancer Council Australia's "Daffodil Day",[20] in recognition of that organisation's official flower's yellow hue.
Coldplay have performed the song throughout their career, and it is a firm audience favourite. An early version of the song with different lyric arrangement and instrumentals was performed during the band's NME Tour in January 2000.[38] The song had its debut performance on television on the show Later...with Jools Holland on 6 May 2000.[39] They performed Parachutes' lead single, "Shiver", and the new song, "Yellow"; but it was the latter that had an immediate studio audience impact.[40] They have also performed it at the Glastonbury Festival, one of the prominent festivals in Europe. During their second appearance in June 2000, Coldplay performed "Yellow" and "effortlessly" captured over 10,000 spectators.[40] Coldplay's popularity at this time was still growing and "Yellow" has helped cultivate it; Martin has said it was the best day of their year.[41] During most concert performances, large yellow balloons are dropped on the audience. The first known sighting of yellow balloons was on 24 September 2002 at the UIC Pavilion in Chicago. Chris Martin noticed the balloons in the air with a surprised look. In more recent years, (January 2013) the balloons are filled with confetti, and at the end of the song Chris Martin would pop one with his guitar causing confetti to fly everywhere.[42]
A live acoustic version performed on Jo Whiley's The Lunchtime Social was included on the Acoustic EP. Another live version featuring only piano and vocals performed and broadcast in Los Angeles on KCRW's Morning Becomes Eclectic was included on the Japanese "Clocks" EP. More recently an acoustic piano version the song was recorded in the studio for Starbucks charity compilation album Every Mother Counts 2012.
Martin performed a rearranged version of the song acoustically and unaccompanied via video link for the late Australian cricketer Shane Warne's memorial service, as it was one of his favourite songs.[44] Warne was a personal friend of Martin, and he had previously accompanied Coldplay for a live performance of "Don't Panic" on the harmonica during a Melbourne concert in 2016.[45][46][47][48] 0852c4b9a8
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