Classical Guitar Recording & Processing

Date: 23/11/09
Total Duration: 5.5 hrs (2.5hr of recording & 3 hours of processing/mixing)


I first discussed with the musician and planned out the session before we started so I could set up everything before hand. He wanted to record a single track of guitar approx length 4 1/2 minutes long and he would like to play it beginning to end in single take rather than doing sections at a time and merging them together afterward.

Single take of this length is usually problematic because any major mistakes during the performance which cannot be rectified by audio manipulation equates to doing another take. I have had multiple experiences in the past with different artists who wanted to do similar things because they wanted to capture the 'live feel' of a performance. After hours of takes they or I weren't happy with, I convinced them to take it bite sizes at a time and eventually they were happy with the results.
This however weren't the case this time because of the level of accomplishment of the musician I was recording. I have recorded songs in the past with this musician and I was well aware of his capabilities and therefore I agreed to do the single take, no metronome guitar track.


Recording Classical Guitar

From past experiences I knew the best way to record classical guitar is with a condenser microphone. Because the acoustical output of such instrument is quite small compared with other instruments so it makes sense to use a more sensitive mic to pick up the widest range of dynamics as possible.
For this recording I am using a large diaphragm condenser mic with its pad turned off and bass roll off also off. I used generous amounts of gain/trim to set best possible level and started recording the piece. In total, we did 5 takes (with rests in between each take) and once we were happy with the result/take, the musician left and I was in charge of editing the track.



Editing/Processing Classical Guitar Track


The first thing I did was I went into automation. I listened back to the track spotting any unwanted/undesirable sounds (excessive string noises, pops, breathing etc). Once I was happy with that, I then turned my attention to the transients. Because this performance was very dynamic with high transients and low passages, I had to try to balance them out. I didn't drastically reduce transients because some could be tamed using the compressor afterward.


Compressing


For my choice of compressor I was using the Focusrite Liquid Mix 16. I used more vintage sounding compressor for this piece because it felt appropriate and it would eliminate (I hoped) of making it sound too 'modern'. I used the NEVE VR Console compressor with the 4 Band EQ of the NEVE 1073 desk.
I didn't compress heavily because I wanted to maintain the varied dynamic range of the piece.


Finishing Touches
To finish up, I added reverb to the piece to give it that spacious feel and for it to open up more (in terms of stereo) and I was more or less finished