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Classical Guitar Instruction with Douglas Niedt

Comprehensive Guide to:

How To Amplify the Classical Guitar for Performances

"Douglas who?"

Douglas Niedt is a successful concert and recording artist and highly respected master classical guitar teacher with 50 years of teaching experience. He is Associate Professor of Music (retired), at the Conservatory of Music and Dance, University of Missouri-Kansas City and a Fellow of the Henry W. Bloch School of Management—Regnier Institute for Entrepreneurship and Innovation.

Doug studied with such diverse masters as Andrés Segovia, Pepe Romero, Christopher Parkening, Narciso Yepes, Oscar Ghiglia, and Jorge Morel. Therefore, Doug provides solutions for you from a variety of perspectives and schools of thought.

He gives accurate, reliable advice that has been tested in performance on the concert stage that will work for you at home.

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Amplifying the Classical Guitar:
Ultimate Guide of Techniques, Tips, and Equipment for
Solo Performances, Guitar with Orchestra or Choir, Ensembles, and Duos

By Douglas Niedt

Copyright Douglas Niedt. All Rights Reserved.
This article may be reprinted, but please be considerate and give credit to Douglas Niedt.


THIS STUFF WORKS!

In my 50+ years of concert touring, these are the techniques, setups, and some of the equipment I use to amplify my classical guitar in various performance situations. I was one of the first classical guitarists to embrace amplification in the 1960s when audiences attending Segovia's concerts struggled to hear what he was playing. This ultimate guide is not armchair quarterbacking. My recommendations work in the real world to this day!


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I will address amplification for:

◆Classical guitar solo performances

Amplified classical guitar, solo performance setup option no. 1

◆Classical guitar with orchestra or choir

Amplified classical guitar, classical guitar with orchestra or choir

◆Classical guitar with a violinist, cellist, flutist, vocalist, etc.

Amplified classical guitar, setup with violinist, flutist, cellist, vocalist, etc.

◆Guitar duo

Amplified classical guitar, classical guitar duo

◆Classical guitar with a chamber group, such as a string quartet.

Amplified classical guitar, classical guitar with string quartet

◆Classical guitar gigs in restaurants, bars, and clubs

◆Weddings

NOTE: Some of the equipment recommendations in this article are what I use in performances. Other recommendations are the opinions of others. Do thorough research to find what is best for you. Many of the links go to Sweetwater.com. I use Sweetwater because they usually have reliable information and tech specs. I also have a personal connection to them because one of my former students, Mitch Gallagher, is the Editorial Director for Sweetwater. But you can buy the equipment from many other outlets. I receive no compensation for any of the recommendations.

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The question is not, "Should I use amplification?"

I'm not going there. If you want to be old-school, you can do what the great Andrés Segovia did. He played in large halls where the audience struggled to hear what he was playing. He was a purist and insisted on no amplification. But in modern times, where we are used to more volume in all the music we listen to, I see no point in making the audience struggle to hear what we play and miss 60% of the beautiful nuances in the tone of the classical guitar. This is true not only of solo performances but concerts with chamber groups (such as a string quartet), symphony orchestras, and choirs.

I'm writing this article from the perspective of the guitarist who wants their audience to easily hear everything they do, every nuance, regardless of the size of the performance space and the quality of the acoustics. In fact, over my 50 years of concertizing, my motto became, "If in doubt, amplify it."

A fact we classical musicians must face is that in our solo recitals and performances with orchestra, choir, and chamber music groups, most of our audience members are over 50 years old. Many of them do not hear well. That's a huge reason to amplify your guitar for those audiences.

Note that I'm not talking about getting a sound that sounds amplified. Instead, I will explain how to amplify your guitar so that if someone is sitting 40 rows back or sitting in the balcony and you switch the mic on and off, they cannot tell the difference between the non-amplified and amplified sound other than the sound being louder when the mic is on.

Keep in mind that we are not amplifying our classical guitar the way a rock player amplifies his electric guitar. Almost in every situation (other than gigs in restaurants, bars, and clubs), you will boost your natural guitar sound a small amount. You will boost it just enough that your audience can easily hear your pianissimos. After all, you are not going to crank it to 11!

Watch Video 1: This Amp Goes to 11 (This is Spinal Tap)
Size doesn't matter

The size of the performance space will not determine the need to amplify the guitar. In the case of concert halls, a 500+ capacity may not need any amplification or just a little. On the other hand, a 100-seat hall that is carpeted or has bad acoustics will require a significant volume boost.

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The Solutions for Amplifying Your Guitar Fall into Three Price Categories with Three Results in the Quality of the Sound

The numbers below are a significant amount of money. But remember, if music is your occupation, these expenses are tax deductible. Plus, if you take care of it, the equipment will last many years. Most of the equipment I have is almost twenty years old.

IMPORTANT: The best strategy is to try out several examples of whatever piece of equipment you are purchasing. For example, when you shop for a microphone, purchase and try a dozen! BUT BE SURE YOU HAVE THE RIGHT TO RETURN EACH ITEM WITH A FULL REFUND. Read reviews and listen to the opinions of others. Let those guide you, but in the end, your situation is unique. Find the solution that works for your guitar, your strings, your touch, your style of playing, and the types of performances you will be giving. That is why testing many examples of each piece of equipment you intend to purchase is so important.

The Low-Budget Solution ($1000-2000)
  1. You will purchase fewer pieces of equipment, each of which will be of lower-end quality.
  2. However, setting it up will be quick and easy.
  3. Operating the equipment requires no special knowledge.
  4. Your guitar will probably sound amplified, but at least your audience will hear you.
The Mid-Budget Solution ($3000-5000)
  1. You will purchase the basic equipment (mic, mic accessories, and amplifier) plus a few extra pieces of equipment (mic preamp and equalizer), all of which will be prosumer quality.
  2. Setting up the equipment will be a little more complicated and take longer.
  3. You must study the manuals to operate the equipment correctly.
  4. If done correctly, the guitar will not sound amplified.
The High-Budget Solution ($7000+)
  1. You will purchase high-end, professional-quality equipment.
  2. Setting up the equipment is complicated and takes 20-30 minutes or more.
  3. Specialized knowledge and experience are required to operate the equipment to its best advantage.
  4. The guitar will not sound amplified. In fact, your guitar may sound better with the amplification than without!

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Rule #1: Avoid the House System, If Possible

The first problem with the house system is that the speakers are usually placed too high on the walls and sometimes dispersed throughout the performance space. So your guitar won't sound like it's coming from the stage. It will be all around the audience. For an acoustic instrument, that will sound artificial. For authenticity of sound, we want a focused sound coming from you, sitting on the stage.

The second problem is that someone else is taking charge of the sound. It could be a music student who has taken some audio classes or a theater student with little experience in audio. It could be the uncle of the concert organizer. It could be a church member who plays in the praise band. It could be anyone, and they will usually not know how a classical guitar sounds. Typically, they equate a classical guitar with an acoustic guitar. As a result, they will make your nylon-string classical guitar sound like a steel-string acoustic guitar.

The third problem is that many house mics, amplifiers, and speakers are not classical guitar friendly. They will be too bright. You can improve the sound somewhat with heavy EQ (equalization), but that usually results in an artificial, amplified sound.

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Rule #2: Use the Best Microphone You Can Afford

Don't buy an amplified classical guitar. No classical guitar with built-in amplification sounds good. The only place you might want to use one is in noisy bars, clubs, and restaurants. A classical guitar with built-in amplification can be a good choice in those situations because it eliminates the feedback problem and gives you a small footprint in which to work. But it is unacceptable for concert performances.

Also, don't use contact mics or pickups built into the guitar or that stick to the guitar or clip onto the guitar. These will never sound as good as a quality traditional microphone. For example, I don't know of any classical guitarist who uses such a device in the recording studio where sound quality is paramount. There is a reason why everyone always uses a high-quality mic.

Amplified classical guitar, a group of microphones

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MICROPHONES

Use the best mic you can afford. You want a unidirectional mic (picks up sound from a single direction) with a cardioid pickup pattern for live performances. Cardioid is the most common polar pattern, named such because it resembles the shape of the heart. It mostly captures sound directly in front of the microphone and rejects sound 180° behind the microphone. The cardioid pattern is best because we want our mic to pick up our guitar's sound, not the room ambiance or audience noises. First, read Microphone Pickup Patterns and How They Affect Recording for more information. Then, for a deeper dive, read Microphone Polar Patterns Demonstrated — Use Your Ears!

Most mics fall into three categories: condenser, dynamic, and ribbon. We are interested in the condenser and dynamic mics. Read What is the Difference Between Dynamic and Condenser Microphones? for more information. Condenser mics will give you the best sound quality for your guitar. However, they are more expensive than dynamic mics. Condenser mics also require "phantom power." If you use a mic preamp, it will supply the phantom power. Read about The Basics of Phantom Power for Microphones.

For live performances, you will only need one mic for your guitar. Many mics come with a choice of finish, often nickel or black. I usually choose black because I think it is less conspicuous on stage.

If you are going to use a second mic for speaking (to speak to the audience or introduce pieces), choose a dynamic mic for your voice.

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Low Budget (dynamic mics)

Shure SM57 Cardioid Dynamic Instrument Microphone: $99. A legendary mic and industry standard.

Sennheiser e 825-S Cardioid Dynamic Vocal Microphone with On/Off Switch: $79.95. (An on/off switch on a mic can be a mixed blessing if it produces an audible "pop" each time it is engaged.)

sE Electronics V7 X Supercardioid Dynamic Instrument Microphone: $99.

Medium Budget (condenser mics)

Shure SM81 Small-diaphragm Condenser Microphone: $399. This Shure condenser was my first good microphone when I began my career.

sE Electronics sE8 Small-diaphragm Condenser Microphone: $259.

Rode NT1-A Large-diaphragm Condenser Microphone: $199

Neumann TLM 102 Large-diaphragm Condenser Microphone - Matte Black: $729

Shure KSM32 Large-diaphragm Condenser Microphone - Champagne: $519

High Budget (condenser mics)

Neumann 170R: $3295. These are the mics I use for my recordings and performances.

Almost any cardioid condenser mic made by Neumann, Telefunken, Schoeps, Gefell, and AKG will be a good candidate for live performances and in the recording studio.





Amplified classical guitar, microphone shock mounts

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MICROPHONE SHOCK MOUNTS

A shock mount helps hold a microphone in place while isolating it from the stand or boom it is attached to. This isolation protects from shock (mechanically transferred noise, handling noise, low-end rumble, and footsteps onstage) and safely mounts the microphone to its stand or boom arm. For example, on a wood stage, without a shock mount, when you walk onto the stage, the mic will pick up the vibrations of your footsteps: klunk, klunk, klunk, klunk! It will also pick up foot tapping.

Many mics come with a shock mount, but if yours doesn't, buy one. They range in price from $30 to several hundred dollars. A budget model will usually suffice.





Amplified classical guitar, microphone stands and booms

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MICROPHONE STANDS AND BOOMS

You want a short mic stand and baby boom for your guitar, as inconspicuous as possible.

Low Budget

Hola! Music Mic Stand w/Adjustable Height for Home, Studio, Office or Stage Use – Low Profile (Kick Drum): $39.99. This item is a stand and baby boom in one unit. It is inexpensive but somewhat flimsy and probably won't last long on the road.

Medium and High Budget

AtlasIED DMS10 Drum Microphone Stand - Ebony: $64.99

AtlasIED PB21XCH Adjustable Boom with 2lb Counterweight - Chrome: $101.99.
I have used the Atlas stands and baby booms on the road and studio for 50 years.

If you are going to use a second mic for speaking (to speak to the audience or introduce pieces), use a regular-size mic stand with a baby boom. Then, you can swing it out of the way each time you finish speaking. The AtlasIED MS12CE Low Profile Round Base Mic Stand - Ebony: $66.99 is an excellent choice for your vocal mic. The round base has a smaller footprint on stage than tripod models.





Amplified classical guitar, microphone preamplifiers

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MICROPHONE PREAMPS If You are Using a Dynamic Mic, You Will Not Need a Mic Preamp.

If you are using a dyamic mic, you may not require a mic preamp. But you will need a Shure A95UF Line Matching Transformer. The transformer has a female XLR connector to a ¼" male plug connector. Your dynamic mic cable will probably have an XLR connector. You will connect the mic cable to the transformer, and then you will be able to plug the transformer directly into your bass (or guitar) amplifier, which will have a ¼-inch jack or input. In other words, the transformer will serve as an adapter from XLR to ¼-inch. It will also give you a better sound.

Shure A95UF Line Matching Transformer

If, for some reason, you are not getting enough power into the amp, you may need a microphone preamp. If so, the preamp will have both XLR and ¼-inch jack outputs so that you won't need a line-matching transformer.

If you are going to use a second mic for speaking (to speak to the audience or introduce pieces), you will need a mic preamp with two channels or inputs. The bass or guitar amplifier you will use may only have one input.

If You Are Using a Condenser Mic, You Will Need a Microphone Preamp

A condenser mic requires a microphone preamp to boost the signal and provide phantom power. It will also have XLR and ¼-inch jack outputs so you can plug a cable from the mic preamp directly into your bass or guitar amp.

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Microphone Preamp Recommendations

If you are going to use a second mic for speaking (to speak to the audience or introduce pieces), be sure to choose a mic preamp with two channels or inputs.

Low Budget

PreSonus TubePre V2 Tube Microphone Preamp: $159.99

ART Tube MP Studio V3 Tube Microphone Preamp: $139.99

Medium Budget

Warm Audio WA-MPX 1-channel Tube Mic/Line/Instrument Preamp: $749

Golden Age Project PREQ73 Premier Microphone Preamp & EQ: $599

High Budget

Honestly, one of the medium-budget choices will more than suffice for a live performance. But if you want the best, go with Avalon, ART, Focusrite, Neve, Grace Design, and Manley.

For my recordings and live performances, I use the Avalon AD 2022 2-channel Microphone Preamp: $3911.





Amplified classical guitar, amplifiers

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THE AMPLIFIER

The one thing you can do to improve your amplified sound the most is to use a bass guitar amp. I am probably one of half a dozen people on Earth who believe that classical guitarists should use a bass guitar amp, not a regular guitar amp. In my opinion, guitar amps are too bright. To get anywhere close to the sound of the natural classical guitar, if you use a guitar amp, you must use an equalizer and EQ the heck out of it. But then, it will sound amplified and unnatural. Many people recommend amps made for acoustic guitars. They are better than standard guitar amps but, again, in my opinion, still unsuitable for amplifying nylon strings. A bass guitar amp naturally de-emphasizes the high frequencies, bringing out the more mellow sound of nylon strings.

Whether you choose a bass amp or guitar amp, you want an amp that is compact and not too heavy. A combo amp (the amplifier and speaker are one unit) is better than an amplifier (power head) and separate speaker cabinet. You don't need the power of a separate head and cabinet. A single combo amp is less to carry and will be lighter overall. A combo amp also has a smaller footprint onstage or in the performance space.

If you anticipate that you will perform with an orchestra, choir, or chamber group, any amp you choose must have an output for a monitor speaker. When you play with an orchestra, chamber group, or choir, it is essential to have one or two floor monitor speakers (also called stage monitors or wedge monitors) that you can point toward the conductor, singers, or orchestra players so they can hear you.

I am partial to the Ampeg and Hartke brands for bass amplifiers, but others will be suitable too. If you prefer to use an acoustic guitar amp, there are plenty of brands from which to choose.

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Low Budget

IMPORTANT: These amps do NOT have an output for a monitor speaker. If you aren't going to play with an orchestra, choir, or chamber group, that won't matter.

Ampeg Rocket Bass RB-108 1x8" 30-watt Bass Combo Amp: $189.99

Hartke HD25 1x8" 25-watt Bass Combo Amp: $149.99

Orange Crush Bass 25 1x8" 25-watt Bass Combo Amp: $219

Medium Budget

Orange Crush Bass 50 1x12" 50-watt Bass Combo Amp: $329 (does not have an output for a monitor speaker)

Peavey MAX 100 1x10" 100-watt Bass Combo Amp: $299.99

Hartke HD50 1x10" 50-watt Bass Combo Amp: $229.99

High Budget

Hartke KB12 Kickback 1x12" 500-watt Bass Combo Amp: $499

Hartke KB15 Kickback 1x15" 500-watt Bass Combo Amp: $629.99. This is the bass amp I use for my performances. This amp is "lightweight" (30 pounds) and has a tilt-back option to throw the sound up, which is good in a hall with a balcony. The tilt-back feature enables the conductor to hear you better if you are with an orchestra or choir.

Ampeg Rocket Bass RB-112 1x12" 100-watt Bass Combo Amp: $409.99

Ampeg Rocket Bass RB-115 1x15" 200-watt Bass Combo Amp: $519.99





Amplified classical guitar, equalizers

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EQUALIZERS

Your bass or guitar amp will have basic tone controls, usually for bass, midrange, and treble frequencies. Those controls will help shape the sound to make your guitar sound natural without boominess in the bass strings or a thin tone in the treble strings. These basic controls may suffice for many guitarists, especially those on a low budget or who want to keep things simple. Here is a closeup of the tone controls on a Hartke bass amp:

Amplified classical guitar, tone controls on amplifier

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Parametric Equalizers

But if you want fine control over particular frequencies, use a parametric equalizer. For example, when you amplify a classical guitar, you will often find that As, Ds, Es, and some other notes sound louder or even boomy compared to other notes. You can fix that somewhat by moving the mic further away from the guitar or adjusting the basic tone controls on the amp. But a parametric equalizer is the best solution. A parametric equalizer (rather than a graphic equalizer) makes it possible to surgically isolate those notes and cut (reduce) their volume without affecting anything else.

See these frequency charts for the guitar that show the frequency in hertz (Hz) of every note on the guitar, from the open strings through the 12th fret. I rounded off the values for ease of use with a parametric or graphic equalizer.

Use these charts to improve your guitar's amplified sound. For example, if the A on the 3rd string 2nd fret sounds boomy in the performance space through your amplification system, the chart tells you the frequency of that note is 220 Hz. If you cut that frequency a few dB (decibels) on your parametric equalizer (or the general region on a 31-band graphic equalizer), it will often solve the problem. If it still isn't right, set the 220 Hz back to normal and try cutting the frequency an octave lower (220 Hz / 2=110 Hz). Or, cut the frequency an octave higher (220 Hz x 2=440 Hz). Cutting one of the three frequencies should solve the problem. For boomy notes on the bass strings, cutting the frequency an octave higher (multiply the frequency by 2) often does the trick.

I usually test the system by slowly playing chromatic scales with "im" rest stroke from each open string to its 12th fret. If I am going to play pieces with drop-D tuning, I also test the 6th string D and D#. If any of my pieces use notes on the 1st string past the 12th fret, I also test those.

Go here for an in-depth discussion on equalization. You can skip through much of the highly technical information.

The equalizer is also a fantastic tool to eliminate problems with microphone feedback. For example, if you place the amplifier behind you, you will probably get feedback and need to use the equalizer to eradicate it. Cut the frequency or frequencies responsible for the feedback, and it is gone.

Low Budget

Golden Age Project EQ81 MKIII 4-band Equalizer: $399

Rolls RPQ160b Rack Mount 4-Band Parametric Equalizer 1U: $209

Medium Budget

Drawmer 1974 Stereo Parametric Equalizer: $1149

TK Audio TK-lizer 2 Stereo Baxandall EQ with M/S circuit: $1699

API Select SR24 Dual-channel Parametric Equalizer: $1230.25

Great River EQ-1NV 1-channel EQ Module: $1600

High Budget

Drawmer 1961 Vacuum Tube Parametric Equalizer: $2499

A Designs EM-EQ2 Dual Mono Solid State EQ: $2550

Millennia NSEQ-2 Stereo Parametric EQ: $4144.99

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Graphic Equalizers

Many may prefer a graphic equalizer, which is easier to use than a parametric equalizer. You can't zero in on specific notes as you can with a good parametric, but a graphic equalizer is far better than the basic bass, midrange, and treble controls on the guitar amplifier.

Compared to the parametric equalizer, they are generally inexpensive ($100-$300). Good brands are ART, dbx, and Behringer. Go with a 31-band model for the best control.





Amplified classical guitar, stage monitors (floor monitors, or wedge monitors)

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STAGE MONITORS (FLOOR MONITORS OR WEDGE MONITORS)

This piece of equipment goes by all three names. If you are playing with an orchestra, choir, or chamber group, you want to use this type of monitor speaker. Your bass or guitar amplifier will only project its sound forward toward the audience, so the conductor and members of the choir, orchestra, or chamber group may not be able to hear you at all.

Plug a monitor speaker into the output jack of your bass or guitar amplifier (remember, this is a requirement when you select an amp). If you need more than one monitor, you can daisy chain them, plugging one into another. Point them at the conductor and the orchestra, choir, or chamber group members. Each monitor has its own volume and tone controls. You can adjust them so that everyone can hear you.

Low Budget

Behringer B105D 50W 5 inch Powered Monitor Speaker: $99

Medium Budget

Behringer Eurolive F1220D 250W 12 inch Active Floor Monitor: $219

Mackie SRM150 150W 5.25 inch Compact Powered PA System: $299.99 Very light, only 8 pounds.

High Budget

Turbosound TFX122M-AN 1100W 12 inch 2-way Flashline Series Stage Monitor: $469. Heavy, 37 pounds.



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MISCELLANEOUS EQUIPMENT Amplified classical guitar, gaffer or gaff tape onstage

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Gaffer or Gaff Tape

You will need gaffer tape to tape down mic and equipment cables on stage. If you are the only one onstage, you may not need to tape down your cables unless you tend to be a klutz. But if anyone else is going to be onstage with you, whether it is one singer, violinist, or an entire orchestra or choir, you MUST tape the cables down for safety. Absolutely do NOT use duct tape! Read why here. To remove the tape, grab the tape only (not the cable) and remove it. Do NOT pull on a cable to remove the tape.

Pro Gaffer Gaffers Tape, 2 in x 55 yd: $27.39. Available in several colors. I love this stuff. I use it onstage and also in my studio to mark microphone stand, video camera tripod, and chair placement.





Amplified classical guitar, equipment utility carts

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Equipment Utility Carts

The weight of all this equipment can add up very quickly. Each item alone is no more than 40 pounds, so you could carry each item, one at a time, from your vehicle to the stage or performance space. But sometimes, the trek can be pretty far, and a utility cart is invaluable.

Low Budget

Rock N Roller RMH1 Multi-Cart Mini-Handtruck: $69.99

Medium Budget

Rock N Roller R2RT Micro 8-in-1 Folding Multi-Cart: $149.98. I've used this model for 40 years.

High Budget

Gator Frameworks GFW-UTL-CART52 52" Utility Cart - Standard: $249.99





Amplified classical guitar, extension cores, power strips, carrying cases

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Extension Cords, Power Strips, and Carrying Cases

You will need several extension cords (3-prong in the U.S.) in various lengths: long (50 ft), medium (15 ft), and short (6 ft). In some venues, electrical outlets can be far from your equipment, requiring at least one 50 ft cord. The number of pieces of equipment you choose to use will determine how many other extension cords you need. You will also need at least one multi-outlet power strip.

You will need a carrying case or suitcase. I use a suitcase with wheels for everything: the mics, preamp, equalizer, adapters, audio cables, equipment power cords, extension cords, gaffer tape to cover cables onstage, tool kit, footstool or guitar support, strings, cleaning cloths, toilet paper, stomach, and headache medications, and every other item I might possibly need. I include several towels to cushion the equipment. It's very heavy but not too terrible to handle with a utility cart. It would probably be better to split the load into two suitcases or carrying cases. Gator makes several carrying cases in various sizes and prices.





Amplified classical guitar, placement of the equipment in different scenarios

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PLACEMENT OF THE EQUIPMENT

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Microphone Usage and Placement for All Performances

For all performances, the one constant is to use a cardioid condenser mic on the guitar unless you are on a low budget. Be sure to attach the mic with a shock mount to a baby boom on a short mic stand for ease of maneuverability. Place the stand to your right, parallel with your guitar, or slightly behind.

The shock mount on the mic is essential. Without a shock mount, the mic will pick up floor noise when you walk onstage or move about.

Point the mic at or below (behind) the bridge, 8-15 inches away. This placement gives you a good sound to work with and picks up very little right-hand and left-hand finger noise. Many guitarists aim the mic at the soundhole. I prefer the sound of the mic below the bridge, and it is also less obtrusive than having the mic directly in front of the guitar's sound hole.

Amplified classical guitar, placement of microphone for classical guitar

If you place the mic too close to the guitar, you will experience the proximity effect. The proximity effect is the exaggeration of low-frequency sounds in a directional microphone when we place the microphone too close to the sound source. With the classical guitar, this translates to boominess. The distance that induces the proximity effect will vary from microphone to microphone.

If you are going to use a second mic for speaking (to speak to the audience or introduce pieces), use a regular-size mic stand with a baby boom. Then, you can swing it out of the way each time you finish speaking. Again, this mic can be a less-expensive dynamic mic.

Amplified classical guitar, placement of vocal microphone

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SETUP AND AMPLIFICATION OPTIONS FOR A SOLO CLASSICAL GUITAR PERFORMANCE

I recommend three possible setups. The difference between the three is where you place the guitar amplifier. In Setup #1, you set the amplifier on your right, about a foot or two in front of you. Placing the amp in front of you helps eliminate microphone feedback. You can try putting it even with your guitar so it is less conspicuous, but sometimes that can cause feedback problems. The mic preamp and equalizer stay hidden directly behind the amp. However, as I explained in the budget categories above, you may not have a mic preamp or equalizer. Setup #1:

Amplified classical guitar, solo performance setup option no. 1

In Setup #2, the difference is that you place the amp to your left. Again, put it about a foot or two in front of you. Placing the amp in front of you helps eliminate microphone feedback. You can try placing it even with your guitar so it is less conspicuous, but sometimes that can cause feedback problems. The mic preamp and equalizer stay hidden directly behind the amp. Setup #2:

Amplified classical guitar, solo performance setup option no. 2

In Setup #3, you place the guitar amp behind you. The amp is inconspicuous, which is great, but there is a high probability of feedback problems. But try it; you never know. Again, your equalizer can be a great help in eliminating problems with feedback. Once again, you will hide the mic preamp and equalizer behind the amp. Setup #3:

Amplified classical guitar, solo performance setup option no. 3

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SETUP AND AMPLIFICATION OPTIONS FOR CLASSICAL GUITAR WITH AN ORCHESTRA OR CHOIR

For a performance with an orchestra or choir, the one constant is to use a cardioid condenser mic on the guitar unless you are on a low budget. Be sure to attach the mic with a shock mount to a baby boom on a short mic stand for ease of maneuverability. Place the stand to your right, parallel with your guitar, or slightly behind. The shock mount on the mic is essential. Without a shock mount, the mic will pick up floor noise from the other performers.

Point the mic at or below (behind) the bridge, 8-15 inches away. This placement gives you a good sound to work with and picks up very little right-hand and left-hand finger noise. Many guitarists aim the mic at the soundhole. I prefer the sound of the mic below the bridge, and it is also less obtrusive than having the mic directly in front of the guitar's sound hole.

If you place the mic too close to the guitar, you will experience the proximity effect. The proximity effect is the exaggeration of low-frequency sounds in a directional microphone when we place the microphone too close to the sound source. With the classical guitar, this translates to boominess. The distance that induces the proximity effect will vary from microphone to microphone.

Two Amplification Challenges

There are two amplification challenges when playing with an orchestra or choir. One is achieving a balance so the audience can hear the guitar above the orchestra or choir. However, that problem is not too difficult to solve. It is a matter of cranking the volume on the amp to the proper level without getting mic feedback. If we get feedback, we can eliminate it with an equalizer as we do with solo performances.

The other problem is creating an amplification setup where the conductor and orchestra players or choir singers can hear you. The bass or guitar amplifier will be to your left and slightly in front of you. The sound of your guitar will only project forward toward the audience. The amp will be close to the conductor, so he might be able to hear you, but not very well. The orchestra players or choir singers won't be able to hear you at all.

The solution is to use one or more stage monitors (also called floor monitors or wedge monitors) pointed at the conductor and other players and maybe change the position of the bass or guitar amplifier. Stage monitors are speakers. You will plug the monitor speaker into the output jack of your bass or guitar amplifier (remember, that was one of the requirements when you selected an amp). If you need more than one monitor, you can daisy chain them, plugging one into another. Point them at the conductor and the orchestra, choir, or chamber group members.

Here is my ideal setup when I perform with an orchestra or choir:

Amplified classical guitar, performance with orchestra or choir, ideal setup

Note that the guitar amp is slightly in front of you (to prevent mic feedback) and between you and the conductor. Once again, hide the mic preamp and equalizer behind the amp.

There is a stage monitor pointed at the conductor. Then, there is a stage monitor for the players or singers on the left side and another monitor for the players or singers on the right side. Keep in mind that each monitor has its own volume and tone controls, so everyone will easily be able to hear you.

This setup requires purchasing three stage monitors, which increases your cash outlay, but it works great.

An alternative, a more budget-conscious setup, is to change the position of your guitar amplifier and use only one stage monitor for the entire orchestra or choir:

Amplified classical guitar, performance with orchestra or choir, alternative setup

In this case, place the guitar amp behind you to your left and in front of the conductor. Now the conductor can hear you. The disadvantage of this setup is that if you crank up the amp's volume so the audience can hear you, it may be too loud for the conductor.

This alternative setup uses just one stage monitor for the entire orchestra or choir. Although the stage monitor has its own volume and tone controls, it may be harder for everyone to hear you than if you used two monitors. Much depends on the onstage acoustics and the size of the group.

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SETUP AND AMPLIFICATION OPTIONS FOR CLASSICAL GUITAR WITH A VIOLINIST, CELLIST, FLUTIST, VOCALIST, ETC.

For a performance with another musician, such as a violinist, cellist, flutist, or vocalist, the one constant is to use a cardioid condenser mic on the guitar unless you are on a low budget. Be sure to attach the mic with a shock mount to a baby boom on a short mic stand for ease of maneuverability. Place the stand to your right, parallel with your guitar, or slightly behind. The shock mount on the mic is essential. Without a shock mount, the mic will pick up floor noise when you walk onstage or move about.

Point the mic at or below (behind) the bridge, 8-15 inches away. This placement gives you a good sound to work with and picks up very little right-hand and left-hand finger noise. Many guitarists aim the mic at the soundhole. I prefer the sound of the mic below the bridge, and it is also less obtrusive than having the mic directly in front of the guitar's sound hole.

If you place the mic too close to the guitar, you will experience the proximity effect. The proximity effect is the exaggeration of low-frequency sounds in a directional microphone when you place the microphone too close to the sound source. With the classical guitar, this translates to boominess. The distance that induces the proximity effect will vary from microphone to microphone.

First, let's look at where to position you, the guitarist, and another musician onstage.

Always position the other musician to your left. Here is why:

  1. You will probably use a score on a music stand. With the other musician on your left, the musician will be in your field of view when you are reading the music or watching your left hand. If the other musician is on your right, you must look away from your music and left hand to watch the other musician.
  2. Physical cues between players are essential for entrances, tempo changes, mood, bowing, breathing, etc. With the other musician on your left, it will be easy to receive and give cues because the player will always be in your field of vision.
  3. The visual connection between performers is crucial, not only for each other but also for the audience. With the other musician on your left, that connection is always there. Performers generate chemistry when they watch and react with each other. When the other musician is on your right, you will be looking away from each other much of the time, and the connection and chemistry will be lost.
  4. In the case of a violinist, the angle of their instrument will be slightly away from the audience, which will help balance the volume between the guitar and violin.

IMPORTANT: Be sure you use a short music stand so it does not obstruct the audience's view of your guitar.

Here is what the setup will look like for guitar and violin. It will be the same for cello, flute, vocalist, etc.:

Amplified classical guitar, setup for performance with violinist, cellist, flutist, vocalist, etc.

Depending on the stage acoustics, the other musician may or may not need a stage monitor to hear you. If a monitor is necessary, I recommend placing it behind the other musician so it is not obtrusive. In other situations, this might cause a problem with feedback. But in this case, the other musician will not need much monitor volume to hear the guitar, so it should be okay.

You may not need amplification in a smaller (100 or fewer audience members) performance space with good acoustics if the other musician knows they must control their volume to preserve a good balance between the instruments.

When working with another performer, be sure to explain to them in advance that you will be using amplification. Do not wait until the day of the performance to tell them. Be sure to rehearse with the amplification several times before the performance.

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SETUP AND AMPLIFICATION OPTIONS FOR A CLASSICAL GUITAR DUO

For a performance as a guitar duo, the one constant is to use matching cardioid condenser mics on both guitars unless you are on a low budget. Be sure to attach the mics with shock mounts to baby booms on short mic stands for ease of maneuverability. Each guitarist should place the stand to their right, parallel with their guitar, or slightly behind. The shock mounts on the mics are essential. Without shock mounts, the mics will pick up floor noise when you and your partner walk onstage or move about.

Point the mic at or below (behind) the bridge, 8-15 inches away. This placement gives you a good sound to work with and picks up very little right-hand and left-hand finger noise. Many guitarists aim the mic at the soundhole. I prefer the sound of the mic below the bridge, and it is also less obtrusive than having the mic directly in front of the guitar's sound hole.

If you place the mic too close to the guitar, you will experience the proximity effect. The proximity effect is the exaggeration of low-frequency sounds in a directional microphone when you place the microphone too close to the sound source. With the classical guitar, this translates to boominess. The distance that induces the proximity effect will vary from microphone to microphone.

In a guitar duo, use the SOLO PERFORMANCE SETUP #1 for the guitarist on the left (as viewed from the audience). The setup for the guitarist on the right will be the same, except that the amplifier will be on the guitarist's right (as viewed by the audience). This placement preserves a stereo effect so the sounds of each guitar are projected from the stage to the audience as separate instruments:

Amplified classical guitar, setup for performance for a classical guitar duo

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SETUP AND AMPLIFICATION OPTIONS FOR CLASSICAL GUITAR AND STRING QUARTET

For a performance with guitar and string quartet, the one constant is to use a cardioid condenser mic on the guitar unless you are on a low budget. Be sure to attach the mic with a shock mount to a baby boom on a short mic stand for ease of maneuverability. Place the stand to your right, parallel with your guitar, or slightly behind. The shock mount on the mic is essential. Without a shock mount, the mic will pick up floor noise from the other performers.

Point the mic at or below (behind) the bridge, 8-15 inches away. This placement gives you a good sound to work with and picks up very little right-hand and left-hand finger noise. Many guitarists aim the mic at the soundhole. I prefer the sound of the mic below the bridge, and it is also less obtrusive than having the mic directly in front of the guitar's sound hole.

If you place the mic too close to the guitar, you will experience the proximity effect. The proximity effect is the exaggeration of low-frequency sounds in a directional microphone when you place the microphone too close to the sound source. With the classical guitar, this translates to boominess. The distance that induces the proximity effect will vary from microphone to microphone.

The guitarist will sit in the middle of the quartet. When viewed from the audience, the 1st and 2nd violinists will be on the guitarist's left, and the violist and cellist will be on the guitarist's right:

Amplified classical guitar, setup for performance for a classical guitar and string quartet

The guitarist's amplifier will be directly behind the guitarist. This placement could cause some feedback problems. Therefore, use an equalizer to filter out the frequencies causing the feedback. The susceptibility to feedback will depend on the onstage acoustics. However, since the guitarist won't have to amplify the sound very much, feedback may not be a problem at all.

With the amplifier behind the guitarist, the string players can hear the guitar better. Plus, it is less obtrusive than placing it in front of the guitarist.

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SETUP AND AMPLIFICATION OPTIONS FOR CLASSICAL GUITAR GIGS IN RESTAURANTS, BARS, AND CLUBS

For restaurants, bars, and clubs, you need volume. However, remember that as you raise your guitar's volume, the venue's noise level will also increase. In other words, the louder you play, the louder they talk! So, increasing the volume beyond a certain level will produce diminishing returns.

The sound quality is not as important in these venues as in a concert performance. If you try to use a traditional mic, feedback will be a big problem, as will picking up audience noise. Plus, space may be limited, so using a mic on a mic stand is another problem. Therefore, this is the one instance where a classical guitar with built-in amplification is acceptable. Or, use a standard classical guitar with a contact pickup or mic. These are often the best choices in a noisy, limited-space venue. Using an equalizer will help the sound quality, but again, space might be limited.

You are on your own regarding recommendations for amplified classical guitars or contact mics and pickups. I don't use them, so I have no experience with them. For the contact mics or pickups, purchase several (be sure you have the right to return them) and see what you like.

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SETUP AND AMPLIFICATION OPTIONS FOR CLASSICAL GUITAR AT WEDDINGS

For weddings, there are many variables in setups. The wedding could be indoors or outdoors. It could be in various sizes of churches with varying acoustics or a public space. You may be playing before the wedding, during, after, or a combination of those. When audience noise is not a factor and there is space, using the setup for a solo performance will produce the best sound. If you think you will encounter feedback problems, limited space, or ambient noise, the contact mic or pickup will be better.

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HOW TO ADJUST THE SOUND AT THE VENUE
  1. The best way to get a good amplified sound (that doesn't sound amplified!) is to have someone who knows what you sound like, listen to you at the venue.
  2. Or, you can do what guitarist Sharon Isbin does. Contact a capable classical guitarist in the city of the venue and have them meet you at the performance space. Have them play YOUR guitar while you move around in the audience space and adjust the sound.

Judge both the tone quality and the volume. Keep in mind a large audience will soak up the sound. So if you expect a large audience, crank the volume a few extra decibels. Also, a dead hall needs more volume, whereas a reverberant hall requires less volume.

As you rehearse or perform with a chamber group, orchestra, or choir, it is almost impossible for you to judge whether the balance between the guitar and the group is correct. Therefore, find someone whose ears and judgment you trust. Have them move around the performance space to evaluate the balance between the guitar and the other group.

IMPORTANT RULE: ALWAYS, AND I MEAN ALWAYS, INCREASE THE GUITAR VOLUME SEVERAL DECIBELS HIGHER THAN WHATEVER YOU CHOSE AT REHEARSAL. Laymen and even other musicians typically set the guitar's volume too low. Crank it a little extra so that you have an extra cushion of dynamic range with which to work. You can always move the mic a few more inches away from the guitar if you set it too loud.

Test the sound quality by playing a chromatic scale

Play each string open to the 12th fret with rest stroke. On the first string, go higher than the 12th fret if your pieces use those notes. If you are playing pieces with drop-D tuning, also test the 6th string open D and 1st-fret D#.

When you amplify a classical guitar, you will often find that As, Ds, Es, and some other notes sound louder or even boomy compared to other notes. You can fix that somewhat by moving the mic further away from the guitar or adjusting the basic tone controls on the amp. But a parametric equalizer is the best solution. A parametric equalizer (rather than a graphic equalizer) makes it possible to surgically isolate those notes and cut (reduce) their volume without affecting anything else.

See these frequency charts for the guitar that show the frequency in hertz (Hz) of every note on the guitar, from the open strings through the 12th fret. I rounded off the values for ease of use with a parametric or graphic equalizer.

Use these charts to improve your guitar's amplified sound. As you play your chromatic scale on each string, take note of any boomy notes. For example, if the A on the 3rd string 2nd fret sounds boomy in the performance space through your amplification system, the chart tells you the frequency of that note is 220 Hz. If you cut that frequency a few dB (decibels) on your parametric equalizer (or the general region on a 31-band graphic equalizer), it will often solve the problem. If it still isn't right, set the 220 Hz back to normal and try cutting the frequency an octave lower (220 Hz / 2=110 Hz). Or, cut the frequency an octave higher (220 Hz x 2=440 Hz). Cutting one of the three frequencies should solve the problem. For boomy notes on the bass strings, cutting the frequency an octave higher (multiply the frequency by 2) often does the trick.

Tone Quality

You can adjust the general tone quality with the amplifier's bass, midrange, and treble control knobs if you don't have an equalizer.

If you have an equalizer, you can leave the amplifier controls flat and adjust the tone quality with the equalizer. Sometimes, you must adjust the amp tone controls plus apply equalization.

Turn the Amp On and Off

Sometimes applying equalization can seem like you are going down a rabbit hole. You adjust one thing, and that makes something else sound wrong. Don't go overboard. Make small changes of a few decibels in any adjustments. One of the best ways to maintain objectivity is to turn the amplification system on and off and compare the sound. If you get confused, set all the controls back to their flat setting and start over.

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HOW DO I TRAVEL WITH ALL THIS STUFF?

I kept my concert tours 99% in the United States and drove to every concert. Therefore, it was no big deal to haul all my equipment with me in my personal vehicle. It gave me tremendous peace of mind and saved me a lot on travel expenses.

But if you must travel by airplane, ship, bus, or train, you can:

  1. Purchase equipment cases for your equipment. RoadCases.com and SwanFlight.com are two companies that supply premade and custom cases for land, sea, and air travel.
  2. Rent equipment in your destination city. Your choices will usually be limited, but it saves a bit of hassle with transporting road cases.
  3. Use the house system and hope for the best. Contact them in advance to see what equipment they have and who will run it.
POWER SUPPLIES AND VOLTAGES AROUND THE WORLD

Ensure the equipment is compatible with the electrical power supply, outlets, and adapters for the country or region you are visiting. There is no sense in transporting a bunch of U.S.-made equipment that may be incompatible with another country's power supply.

One of the most immediate differences in electrical outlets worldwide is the voltage of the current used in various countries. For example, the standard in North America is 110 to 120 volts, while the European standard is 220-240 volts. These voltages necessitate a difference in how outlets are constructed in Europe and North America. Understanding the voltage of the current that the outlet supplies is critical because you may find that all the custom equipment you transported hundreds or thousands of miles will not work with the electrical outlets of the country or countries you are touring.

Along with the different voltages, there is also a difference in the frequency, or cycles per second, of the electric power available in many parts of Europe and North America. For example, the standard in North America is 60Hz, while Europe's is 50Hz. This frequency difference means that even if the voltage is compatible, there may still be a problem if the touring guitarist uses equipment not constructed to work with that particular frequency.

Beyond the voltage and frequency of electrical power, there are significant differences in the appearance of electrical outlets worldwide. The United States and Canada tend to make use of only two versions of outlets. The primary usage outlet accommodates a two-pin construction, with one flat pin slightly larger than the other flat pin. For heavy-duty usage, a three-prong design adds a third round-shaped pin.

Various European countries use an eclectic blend of two and three-pin electrical outlets. Furthermore, the pins' configuration may be in almost every combination imaginable. This situation means we must use adapters for equipment manufactured in a different country, even when the current level and frequency are compatible.

Many manufacturers include switches or separate outlets on their equipment to make it compatible with different voltage and frequency supplies. But you will still need a host of adapters to ensure you can plug the stuff in!

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SUMMARY
General points

The question is not, "Should I use amplification?"

The solutions for amplifying your guitar fall into three price categories with three results in the sound quality.

Avoid the House System.

Equipment
  • Use the best mic you can afford for your guitar. Use a shock mount, short mic stand, and baby boom.
  • You will need a microphone preamp if you use a condenser microphone.
  • Consider amplifying your guitar with a bass guitar amp rather than a generic guitar amp or acoustic guitar amp.
  • Use an equalizer (preferably parametric) to ensure the guitar doesn't sound amplified.
  • When you play with an orchestra, choir, or chamber group, use one or more stage monitors so the conductor and other musicians can hear you.
  • Use gaffer tape to tape down cables onstage.
  • Use an equipment utility cart to transport your equipment from your vehicle to the stage.
  • You will need an assortment of extension cords and power strips.
Placement of the equipment

FOR ALL PERFORMANCES:
Place the mic on your right, pointing at or below (behind) the guitar's bridge, 8-15 inches away.

CLASSICAL GUITAR SOLO PERFORMANCE:
Place the amplifier to your right, slightly in front of you. Hide the mic preamp and equalizer behind the amp. Other options are to place the amp to your left or behind you.

CLASSICAL GUITAR WITH AN ORCHESTRA OR CHOIR:
Place the amplifier to your left and slightly in front of you, using two to three stage monitors for the conductor and musicians or singers. Another option is to place the amp behind you, facing the conductor, and use one or two stage monitors for the other musicians or singers. Regardless of where you place the amp, hide the mic preamp and equalizer behind the amp.

CLASSICAL GUITAR WITH A VIOLINIST, CELLIST, FLUTIST, VOCALIST, ETC.:
The other musician will stand or be seated to your left. Place your amp on your right. Hide the preamp and equalizer behind the amp. Depending on the stage acoustics, you might need to place a stage monitor behind the other musician.

GUITAR DUO:
When viewed from the audience, the amp for the guitarist on the left will be to the left of the guitarist. The amp for the guitarist on the right will be to the right of the guitarist. Hide the mic preamps and equalizers behind the amps.

CLASSICAL GUITAR WITH A CHAMBER GROUP (such as a string quartet):
Place the amp behind you. Hide the mic preamp and equalizer behind the amp. Use the equalizer to control feedback.

RESTAURANTS, BARS, AND CLUBS:
A classical guitar with built-in amplification is acceptable for noisy, limited-space venues. Or, use a standard classical guitar with a contact pickup or mic.

WEDDINGS:
Wedding venues are variable (churches, outdoors, small spaces, public spaces with terrible acoustics). When audience noise is not a factor and there is space, using the setup for a solo performance will produce the best sound. However, the contact mic or pickup will be better if you think you will encounter feedback problems, limited space, or ambient noise.

Test the Sound
  • Have someone who knows what you sound like, listen to you at the venue.
  • Play chromatic scales on each string to find and fix boomy notes with your parametric equalizer.
  • Shape the general tone quality with the equalizer. Make any adjustments in small increments of a few decibels. Use the tone controls on your amp if you don't have an equalizer.
  • As you make adjustments, turn the amp on and off until there is very little difference in tone quality between the two.
Travel

Touring in your own personal vehicle is best for convenience and cost. But if you must travel by airplane, ship, bus, or train, you can purchase equipment cases for your equipment, rent equipment in your destination city, or use the house system and hope for the best.

If you travel abroad, prepare your equipment for different power voltages, frequencies, and electrical outlets.

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