multi-pattern condenser mic usage question

I feel stupid asking, but... recently picked up a CAD GXL3000 multi-pattern condenser microphone, and I'm not really sure how to set it for best results. That is, if I want to set it in front of me while recording an acoustic guitar, would I set it to the cardioid setting, or omni or figure eight? Do I point the logo/switch side at me, or the end? Yeah, feel stupid.

When would you use the other patterns, the -10dB pad, and the high-pass filter? Any tips appreciated.

Sorry, I'm a newbie to condenser mics.

Cardioid is directional, usually the logo side. Aim that at you.

If you want more room sound, or are recording a bunch of folks playing, the omni gives you a much wider pickup area (as in pretty much any direction), while the figure 8 picks up you and whoever is on the other side of the mic, but to the left and right aren't picked up.

High pass filter is for when you're getting too much bass and rumble, and the pad is for recording loud stuff.

Tim

Thanks Tim!

Other cool things to think about:

-Omni usually has little to no proximity effect.
-Figure 8 can be very cool when used between a source and a wall. Vary the distance for different blends.
-Figure 8 is essential to mid/side mic'ing. Look that up. Seriously.
-In a situation where you'd assume that cardioid would be the obvious choice, try omni. Sometimes you just get a more natural sound when more of the room reflections come back at the mic. This varies by room and position of course.
-The sides (nulls) of the a mic in figure 8 can be used to your advantage when you're trying not to pick something up.

I treat high-pass filters as defaulted to "on" unless I know there's a component to the source that's important and exists below 150hz or so. This is not a hard rule, but filtering out the lows from mics, even when you think there's not much low end present can really help you get a much clearer mix.

Other cool things to think about:

-Omni usually has little to no proximity effect.


Which means that it doesn't tend to accentuate the bass frequencies when it gets close to the source.

You might want some proximity effect if you're micing a (male) singer with a bit of a weak/thin voice, for example. Might not be so good on a delicate acoustic guitar track.

And, the rest of what Ben said.

Cheers,
Geoff

Acoustic guitars radiate sound in very different ways depending on the guitar, how it is played (strummed, fingerpicked, fingers vs. pick, player's attack etc. etc.). And the guitar itself will send out different overtones from different areas of the body and the neck too.

Which is a long-winded way of saying every situation is a bit different and there's no one-size fits all way to go about things.

Although aiming a mic directly at the soundhole is almost always a bad idea.

To start off, I'd set the mic to cardioid. Set the mic about a foot or two in front of the neck around the 12th fret area. But angle the mic to where the neck meets the body of the guitar. See how that sounds. Then try angling the mic a bit more towards the soundhole. And an equal amount the other way (up the fretboard a bit). Often amazing what a difference just angling the mic a few degrees in that area can make.

Or, you can try putting the mic (and I really mean position of the capsule here) a couple feet out in front of the lower bout and aim at the bridge.

Or try putting the mic over your shoulder from behind and aiming down at the guitar. (that one has never really worked for me, but the mic is closer to your ears and what you're hearing - so might give you some sense of how the mic "hears").

Have fun. there are no right answers to this. Experiment, listen. Condenser mics are more sensitive than dynamics, so you're going to hear more stuff that you don't like as well - finger squeaks, background noise, the furnace etc etc. You might also be amazed at how much difference moving the mic an inch can sometimes make.

Good luck with it!

Cheers,
Geoff

You guys are awesome, thanks for the tips :)