Curious what everyone here is using these days for home recording, especially for quick solo guitar videos or small ensemble stuff.

I’ve been trying to strike a balance between:

- ease of use

- low maintenance/setup time

- and still getting genuinely good acoustic sound

For solo guitar, I often use an Apogee HypeMic straight into the iPhone. Honestly for the simplicity, it sounds surprisingly solid.

If I want to layer parts with the same mic setup, I’ll usually use Acapella- it allows for split screen recording

For small ensemble or more dimensional recordings, I’ve also been experimenting with two (or four for an ensemble) Audigo mics placed in different spots:

- one positioned more for mids/highs

- the other catching more low-end/body

It’s been convenient and pretty musical, though I’m always chasing that “easy but still sounds professional” sweet spot.

Curious what other people here have landed on over the years:

- stereo pairs?

- interface + condensers?

- clip-on mics?

- portable recorders?

- phone-based setups?

- anything surprisingly effective?

Would especially love to hear from people recording Gypsy jazz guitars specifically, since getting the attack and body balance right can be tricky.

Here's a bunch of reference recordings for the sound I'm able to get with just the equipment I mentioned

Lastly big Shout out to @MichaelHorowitz for helping my get this new Dupont in the solo/split screen videos, i cant wait to start recording in an ensemble with it.

Four Audigo mics

Two of the same mics

The Apogee Hype mic layered with the Acapella app

Solo Guitar on the apogee

Single split screen with the apogee

Lastly, one with just the Audigo Mics, both tracks are the Dupont

Does anyone have experience with this? Do I need a different microphone, or will most condensers have the same problems as my AT2020? I can afford to buy another mic if necessary, but I’m still a student, so I’m working with a limited budget.

But I finally decided to take the plunge. This morning, I ordered myself a Christmas present from Michael in the way of a new Cigano GJ-10.

I’m looking forward to this. I freely admit that my playing is a stylistic mashup, and that I will never get Jazz Manouche down perfectly. But it is definitely a big influence on my playing. Having direct access to THAT sound will definitely help me get better at it.

It sounded pretty great from the git-go, but I played it like a fiend yesterday and today, and sicced a Tonerite on it the rest of the time and overnight, and it has just opened up into this huge sounding music machine. I love the feel of the 12-fret neck, and compact size. It doesn't sound like an original, but it's close enough, and I already love it for its unique tonal character, and the OG look. Dealing with Jean from Colorado had its challenges, but between our respective attempts at writing in the other's language, we got it done. The truly miraculous part was UPS getting it from Grasse to Boulder, including customs, duties, etc. in (drum roll...) two days!🤣

You can hear the guitar here: https://www.youtube.com/watch?v=1J43MKwu6kA

I am based in Berlin, Germany. Anyone is of course welcome to come and try the guitar if they are in the area. I can ship the guitar at buyer's expense.

Price: 3000 EUR

saw Adrien play at Monk with an F hole guitar. Sounded amazing. Anyone know what it is??? See image below.

I though maybe an electric Favino?? No idea really though.

Cheers

I'm in the ruminating stages of getting a guitar made. Any thoughts on how an f hole guitar might sound/feel different.

The only reason I'm considering an f hole is because I want a CC pickup in it. I know that will make a big sound difference acoustically. But I'm stupid and want it anyway.

Anybody have experience with such thing?

Do you know if this is a costly job to have fixed? Can I let it go & still get years out of the instrument?

Im after any thoughts, help, opinions etc on the guitar i got hold of to restore. Its had the old finish rough sanded off, broken plastic binding glued back on, neck heel half replaced etc. The restoration will be top down.

What i think i have is a Joseph Dimauro the elder hearhole, 1950's 12fret to the neck. Its spruce top flat, mahogany neck and headstock, rose wood fretboard, solid birdseye maple sides, laminate mahogany/maple/mahogany back. Back has a nice deep curve to it but no bracing. Top is three ladder braces, one above the soundhole two below.

Im struggling to find this soundhole type on any hearthole on the internet. Im sure ive seen one before but cant find anything. Reminiscent of the Roget Chaput roundhole mod to his Selmer. Any thoughts, is it a version for a retailer?

A problem i have is this legit? My instinct is yes....but. the rosette however looks like its been done by an 8 year old. Plus the soundhole is off centre to the body. 1.5cm to the right. Its centred on the top plates join but the whole plot is not centred on the body. Once seen cannot be unseen. Do i retop? What do you all think. A Sonora version??

I have a roll of 0.50 mm 'quarter-cut' (furniture industry uses that term instead of quarter-sawn) teak veneer.

I am wondering if the slight increase in bridge height makes the strings longer between nut & bridge, so the bridge may need to be moved a little closer to the nut.

If this is on track so far, do I compare open string tuning to 12th fret open harmonic, or 12th fret fretted? Or neither?

I did not find this discussed previously using the search tool.

Thanks

Anyone know how to adjust it????

No hex wrench fits it, and can't fit a regular wrench there to twist it either, if that's how it's done on it.

Im new here and this is my first post. Im from N. Ireland (UK so far) but originally from Poland.

Purchased Beatufil Altamira Gypsy Jazz guitar but can't find any info on the web...

It was made by ???????? , has Gallato Logo and has all 1939 Selmer features EXCEPT cheapo tuners... and tailpiece...

A walnut neck is ONE piece.

What is that?

The dodgy bridge has been fixed and a few other issues.

Thanks in advance!

Tomas

Is this possible or does one need to be a moderator?

I've played and owned several gypsy jazz guitars and really don't like most of them. I'm very picky, obviously. Many of them seem to sound really "modern" with too much sustain which I despise.

Correct me if I'm wrong, but gypsy jazz guitars aren't supposed to have a nice sustain, which many people seems to illustrate on their instrument description?

Does anyone know what other guitars have have a dry tone with a quick decay?

Any current builders who nail this "traditional" sound, if that's what you call it?

Also, I'm not interested in old/vintage instruments with astronomical prices and no truss rods.

I searched other threads but couldn't find any specific one about this topic, except for Duponts perhaps. I owned a Dupont MD60 with a horrible sympathetic vibration that could not be diagnosed and fixed that makes me very skeptical about their guitars now. Also it was really quiet. Although I'm sure there's some really great Duponts out there.

I know petite oval holes tends to compress tone and project volume and grande oval hole are more airy and darker.

My questions are for two identical sound hole guitars of similar build and materials are

1. Does a shorter scale guitars push the bridge back on the soundboard to add more bass.

2. Conversely does Long scale guitars push the bridge forward to add more trebles.

3. Is it possible to create a short scale guitar with great note definition and a long scale guitar with more bass and some overtones (outside of a big bout Favino style guitar)

4. I like the sweetness of the overtone that some short scales guitar are known for but can a long scale guitar produce similar sweet overtones easily.

5. Are there any other advantages of Short scale and Long scale guitar over the other?

Misc. questions (answer at your own risk)

I am also wondering in Gypsy Jazz

Is there anything wrong with a well defined fundamental note ( & good attack) but with a little short and sweet overtone?

Does it have be dry with ultra- quick decay?

Hope I have opened a hornet's nest

I am tempted to go for a Steimer option but I was curious to hear from other Krivo players, especially in terms of setting on their amp - I use an AER 60 with it.

Kindest regards,

BK

after quite a bit of reading about break angle, string break and the like I'm not sure I understand my situation any better now.

the digest version is that I bought a guitar that arrived with a very low string angle... maybe 2 degrees. the action is a bit high ~ 3.5mm

lowering the action some is going to reduce the string angle even more. the guitar sounds OK but I think it should sound better.

side view of the bridge are attached.

I've been referred to Gerard Egan (Santa Cruz, Cal.) and did send an email but it's been about 10 days w/o a response.

input appreciated.

TIA

Does anyone have a link to this???