Two mics are better but can also be problematic until you have experience working with mics. The main problem is getting them out of phase. Some stereo micing methods are much less susceptible to phase issues than others, so it's helpful to study up on the various methods (x/y pair - spaced pairs - etc.) before attempting stereo recording. Personally I would recommend using just one mic to begin with and hold off on stereo until you're familiar with mic placement, finding the sweet spot, using the room to your advantage, etc.
It seems weird to combine an affordable recorder with a very expensive pro microphone. I'm not putting the H5 down, I have one myself. I was expecting a much higher end converter/pre-amp where the budget and specs require such an expensive mic.
The late great Tweak mentionsrobin loops wrote: ↑Sat Nov 11, 2017 6:27 pmThere are some methods that involve using a condensor and a dynamic together (which obviously won't be matched) so that's also worth looking into. This method can also work best when using two unmatched mics of whatever type (2 condensors or 2 dynamics). This method is more about combining the two mics for more dimension (combining characteristics of the two mics) and using very slight panning (if any at all) to widen the stereo field, than actually having a 'left' and 'right' microphone.
. Working with budget gear I've found that sometimes a dynamic will help add some body to a rather thin sounding electret, and vice versa the electret keeps the high end detail lost on the dynamic, but I am far from having perfected mic placements etc. please give more detail on this combination.Though it breaks with studio wisdom, I have found awesome results mixing and matching different mics, such as PZM with dynamics, condensers with electrets when trying to capture a stereo image of the acoustic, taking time to experiment and place the mics to get the most out of them.
How do you place the mics?
It works well enough for me. I think my next purchase will be a medium quality preamp to run into the inputs of the H5, but I don't think I'm hurting for a good sound. You can search for my name and "classical guitar" on youtube to find my channel and listen for yourself.
Hi Richard,DCGillrich wrote: ↑Sun Nov 12, 2017 2:26 amHi Arash
There is a lot of information on microphones, set up, and recording classical guitar by Per Lindhof Frederiksen (who is on this forum), and Uros Baric, which I recommend. After looking through many of their recommendations, I purchased and use a matched pair of Rode NT5 cardioid microphones and a Focusrite Scarlett 2i2 pre-amplifier and A/D converter. Along with a stand and microphone mounting beam, this cost me about US$700.
I record in a 14 sq. m, carpeted room. I don't detect any internally generated noise from the Rode NT5s, although I do sometimes pick up bird noises outside my window. I set up the microphones in a DIN pattern, with the recording ends 200 mm apart, mounted in a horizontal plane approximately 1 m above the floor. The mounting boom is aligned more or less between the sound hole and the bridge, and the microphones are an arm's length from the sound board. Therefore, one of the microphones is directed at the fret board, an the other above the guitar body. I think this was one of the setups Per Lindhof found successful.
I think I get a good sound, but I am recording only for amateur use with limited distribution. Although I use a DIN setup, I can't really detect much if any different with ORTF and X-Y. But my speakers and headphones are not high quality either.
I am using REAPER (x64) as my DAW, and sometimes experiment with adding reverberation. To add reverberation, I use ReaVerb, which is a convolution reverberation plugin that comes standard with REAPER. For the impulse generator, I use an impulse response wav file measured in the Promenadikeskus Concert Hall in Pori, Finland (http://legacy.spa.aalto.fi/projects/poririrs/).
The recording setup used by Uros Baric is relatively much more sophisticated.
Hope that is helpful.
Have you tried using Audacity or a similar editor to edit the recording? You can split the stereo channel to two mono channels, listen for yourself if you like the solo condenser, or if you prefer the two channels together: whether centre panned or hard panned.Andrew Fryer wrote: ↑Sat Nov 11, 2017 11:31 pmThey are on a cheap stand about 6" apart and I just place them as close to the sound-hole as possible to minimise extraneous sound. I only use two because I can't find a way to get mono sound using just one - once one is plugged into the left channel of the pre-amp, that's it: it comes out of the left speaker only!