我的原声吉他唱片听起来很棒，但他们坐在乐队的混合中不好。我究竟做错了什么？
- 凡妮莎，西雅图
Capturing natural and balanced acoustic guitar recordings is something that requires skill and practice. Having done so, it can be dispiriting when you discover that context is everything, and sometimes you have to make things sound worse to make them sound better.
用来解释一条很棒的路线令人难以置信的, when everything sounds super, nothing does…
有什么问题？
粗略地说，我们的耳朵可以听到大约30hz至18kHz的频率 - 如果您是金属吉他手，则可能会听到10k的声音。在典型的频带混合物中，不同的元素被设计为占据特定的频带。
踢鼓和低音吉他覆盖了低端，吉他，键盘和人声更注重中音，上游频率和高音频率被原声吉他，高帽子和cy骨占据。但是现实比这更复杂，因为大多数仪器涵盖了广泛的频率范围。
例如，低音鼓具有令人惊讶的高音内容，并且帽子的频率比您想象的要低。因此，它们并没有像我们想要的那样整洁地插入特定的频带。当各种乐器都争夺相同的频率空间时，事情变得更加困难，但是有各种解决方案。
选择合适的吉他
您最喜欢的声学可能不是曲目的最佳吉他。如果您要在以大声，脂肪和扭曲的电吉他为主导的轨道上演出，那么大型无畏或巨型的声音可能不是最好的选择。
Those acoustic guitars typically generate a lot of bass and low mids, and the electrics will already be doing that. If you’re adding acoustic for rhythmic drive and some percussive chime, try a smaller-bodied guitar.
相反，一条带有许多明亮和扭曲的电音的乡村风格可能需要更温暖，更大的声音才能填补中间的声音。在这种情况下，吉布森风格的声音的木质和黑暗声音比更明亮，更空灵的品质更好马丁- 风格的吉他。
And if you can’t swap guitars, try swapping your strings. If you need extra brightness, try replacing those dead old strings with a fresh set of phosphor bronzes. Conversely, a played-in set, or some naturally darker sounding strings, might be preferable. Martin Retros are a great option for this, and you should also experiment with different plectrums because thin ones always sound brighter and more percussive.
Equalisation
尽管我们始终主张将声音正确地源自源，但均等化可以提供微妙的改进，或者在录制和混合过程中成为您的“离开监狱”卡。关键是了解如何使用均衡。
简单地开始，如果您的麦克风，前置放大器或均衡器具有低音滚动开关，则应使用它。声学在75Hz以下没有任何有用的东西，因此可以清理许多繁荣和低频混乱。
At the other end of the frequency spectrum, you may want to boost high frequencies to help the acoustic to cut through, or reduce them to sweeten the tone. It’s always best to listen to the sound you’re working on in context rather than solo’d when you’re making EQ adjustments.
Whether you’re using analogue outboard or, more likely these days, a plugin, set your parametric equaliser’s Q/bell (bandwidth) control for a narrow range, apply a 6dB boost and then slowly sweep around the frequencies and listen to the sound change. If you start hearing the result you wanted, then you’ve found the right frequency. From there you can fine tune the amount of boost and broaden the Q setting to soften the effect.
您可以使用相同的过程来识别和删除不需要的频率。声学往往会变得波动，并在低中部中充血，因此，如果频率跳出具有不愉快的环或节奏部分的强力降低的频率，则可以以另一种方式控制+/-控制+/-。
Depending on the guitar and the microphone placement, 400Hz is a good starting point when you’re tightening low mids. Using equalisers to cut rather than boost creates frequency pockets for other instruments to occupy and it’s an effective way of helping an acoustic to sit nicely under a lead vocal.
Once that acoustic is sitting well in the track – sounding clear but not taking up too much space – try soloing it. You may find that it sounds great in the track but not so good in isolation. If that’s the case, don’t let it bother you.
和弦发声
When layering guitars, we usually still want to be able to distinguish the individual parts. That will be hard to achieve if you play exactly the same thing on every overdub. One solution is to play the chords in different areas of the fretboard.
If the electrics are playing open E chords, try finding ways to play E major higher up your acoustic’s neck. Capos can be extremely useful because if you place one at the second fret at play your usual open D shape two frets up, there’s your higher inversion of E major. A capo at the seventh with an open A shape will work too, and you can have fun figuring out how to play the rhythm part with capo’d chords.
纳什维尔调整
您几乎可以肯定的是，在无数的经典录音中听到了这一点，在该录音中，声学听起来很精美，但混音仍然保留了清晰度和空间。诀窍是使用12弦组的高八度弦，以使B和高E正常调整，但是E，A，D和G被调整为比平常高的八度音调。
It sounds like the effect we often want from a 12-string, but without any of the problematic boom and thud. And when you combine a capo with Nashville tuning things can get very interesting.
而且，如果您的乐队中有一个键盘播放器，请尝试解释有十个手指并不意味着他们必须一直使用所有手指。如果没有产生所需的结果，请尝试将其左手贴在背后。您会惊讶于总体上可以清除多少吉他的空间！
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