Now that we’ve covered EQ and compression for acoustic guitars, I need to get something off my chest. I have a real pet peeve when it comes to mixing acoustic guitars. More on that in a second.
This article is more of an opinion piece than anything.
I want to preface this by saying that I absolutely love acoustic guitar. It was my first instrument, and, while I’ve branched out and started playing other instruments over the years, the acoustic guitar is by far my favorite.
Almost every song I write and record is centered around the acoustic guitar. I’ve spent countless hours learning how to record and mix it. While I’m not perfect at it, I think I’ve gotten pretty good at it.
I may not know too much about programming electronic music or putting together phat beats, but I know acoustic guitar.
Yesterday I walked you through an overview of how I EQ acoustic guitar, now let’s take a quick look at compression.
Since most of my EQ choices tend to be cuts rather than boosts, I like to compress after the EQ nine times out of ten. As I mentioned in Intro to Compression, compression does one of two things: it turns down louder signals and turns up quieter ones.
This is an oversimplification of compression, but that’s still the way I think about it when I reach for a compressor on any track. I ask myself, “What will this compressor do to the tone of this track? And will that get me closer or further away from the sound I want?”
The last few weeks I’ve been on a mixing kick. We’ve looked at mixing drums and bass. This week we’ll tackle acoustic guitar.
If you have a home studio, there’s a good chance you spend a lot of time doing acoustic guitar/vocal demos. These may develop into full-on rock productions, but a lot of times we start with acoustic guitar and work from there.
Thin vs Boomy
A simple guitar/vocal track should be fairly easy to record and mix, right? Well, oftentimes it proves to be more difficult. While the acoustic guitar is a fairly simple instrument, it can be hard to mix.