The microphone’s position has not changed in over twenty years. Tape marks where the chair needs to be, should it be accidentally moved.
The microphone is a Neumann M-149, which I have used since 1999 – following the loss of the previous Neumann. As you can see I tend to stick with something I like. I don’t feel the need to experiment and am rather loyal to things that work. I own only two Flamenco guitars, which is very unusual, and have only used one of those two for the last five years. I generally prefer depth over variety. I would rather be very intimately familiar with one guitar than be vaguely familiar with a hundred.
One photo shows the back of the M-149 which shows that the bass roll-off is set to 40Hz. There is also a photo that shows the mic pattern setting on the front of the microphone.
From the microphone the analog signal travels to a Martech MSS-10 microphone pre-amp. Sadly Martinsound no longer makes the MSS-10, but luckily I have two in case something happens to one of them. In 1999 we rated a number of mic pre-amps and I wrote about that test here. The MSS-10 is by far the nicest mic pre-amp for the flamenco guitar that I have ever heard. When we listened to it the three of us – Jon, engineer Gary, and I – immediately preferred it over all others tested. From the MSS-10 the analog signal travels to the Digidesign 192 HD Interface that converts the analog signal to a digital one. I use the DigiDesign Reverb One plugin on the guitar, preferring a dark, but longer reverb. I put an EQ on the reverb, removing much of the lower frequencies of the reverb as they muddy the waters in my opinion. The guitar EQ is a GML (George Massenburg Labs) software plugin. I use it to dip out a frequency of my guitar that sounds boxy and to add a very small amount of presence.
That’s it. The analog equipment – microphone and mic pre-amp – is expensive, but the digital side is not. I just looked up the Reverb One plugin and it retails for $300. The GML software EQ is no longer available.
When considering a guitar sound one should not forget the guitar itself, the type of strings, the player’s way of holding the guitar – some players choke their guitar by holding it too tight – and, of course, the nail treatment and how the strings are struck. There are so many variables that it is good to go step by step.
Today, Saturday, I added four screenshots to the viewer. The first screenshot shows the EQ setting for my Blanca guitar when playing a melody. The second shows the EQ setting for my Negra when playing rhythm. I start with two EQ settings for each guitar:
There is a setting for playing rhythm – anything that’s not the main melody. This setting only removes a low frequency that every guitar has when one places the microphone relatively close. This becomes a problem when playing multiple rhythm guitars because that low-end builds up. A second setting, for the melody, removes a little less of the lower frequencey and adds a little bit of a high frequency. I look for a sweet spot where I can add a little bit of treble that sounds smooth and silky. Over time I collect more EQ settings for each guitar because the guitar can subtly change according to string wear or humidity.
The next screenshot shows one of the EQs for reverb that filters out much of the sound below 150 hertz. The last screenshot shows the One Reverb setting I prefer for all of my guitars. It is called “Dark Concert Hall” and I have used it for two decades.