For example, on steel string guitar, you might use a bright sdc for a strummed rhythm part - especially if it's going to be played twice and panned hard L&R - and a beefy ribbon mic for a solo, and an LDC mic to warm up a fingerpicked part, and a bright sdc to give more definition for a player using bare fingers, and a midrangey mic to compensate for a guitar with too much high and low end. Just replace the broken one, and if that new one sounds a lot brighter than the others, then yes, change all - one at a time. If you have the tracks and mic selection, try putting up two mics with different response characteristics and see which one works best in the context of the production, since there is no single micing technique that's going to work for every situation. There is probably no need to change all the strings - unless theyre a year or two old. Nylon guitars generally need some help in the 3k - 5k area, which could be a dynamic mic (through a high gain preamp) or a condensor mic with a 3k peak.īanjos can sound really harsh - or not - depending on the instrument. Put a bright mic with a sizzly high end on a nylon guitar and you get too much fret noise and not enough tone.
I have found that nylon string guitar can benefit from a midrangey mic without a crispy high end. The bluegrass banjo is a 5-string banjo, with a heavy metal tone-ring, and a fretted neck (with about 22 frets), often with geared tuners from the back.
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