Some one asked me the other day why I have another audio community link on this forum. My theory is simple. I am not looking to build membership as far as the numbers go, I am simply trying to provide quality content. Think about this, if you needed to have a very delicate operation done for one of your loved ones, would you not want the person preforming that surgery, to have read more then one book in order to obtain their medical license? I enjoy learning as well as reading well written articles concerning the audio industry and when I feel they are worth passing on, that is what I do.
So, is it OK to use a DI box when recording vocals and the guitar from one person. Most say no but I am telling you that there are always circumstances, when it is best to go against the norm, as per the post below. IMHO, the most important sentence in this post is the last one and it can be applied in all aspects in the recording industry. You can view the original post here.
Choices made in mic protocol with gifted artists that need to play and sing simultaneously are the greatest challenge a producer/eng. will encounter in a recording session. For the type of separation that we all covet tracking the guitars separately is a no brainer however there are occasions when that is not acceptable. 50 years of producing and performing both live and studio tracking acoustic Americana (mostly Bluegrass) has shed some light on the choices. I totally agree with kwsmix's assessment of DIed guitars with the following exception:
DI's are better tools to reduce the superfluous noise of a trashy picker and eliminate bleed with a very close worked tight pattern vocal mic. Given the fact that most every thing I do has a long range view of how to best reproduce a given recording in a venue with a live show the type of mic management effort kwsmix made in this recording would be virtually impossible to replicate live. When I was 10 years old I watched Flatt & Scruggs work a single RCA ribbon mic with a 5 and some times 6 piece band. Woodland auditorium never featured music technically better presented than the early 50s version of Flatt & Scruggs. A producer in Nashville had placed tape on the studio floor to locate the desired placement for each participant at given points in the song that resulted in an acquired choreography that many BG bands today still try to emulate with mixed degrees of success. For many reasons the "gather round the mic deal" is not a style I recommend today.
1. The higher the quality of your vocal mic the more bleed you will get from the guitars.
2. I have learned a great deal from my neighbor and pickin buddy Doc Watson: a seated singer/picker will deliver a much more consistent delivery to a mic than a stand up performer.
3. A tube vocal mic (Flea47next, Peluso2247se, AT4060) is more than capable of capturing both voice and guitars simultaneously if the artist is willing to invest the time it takes to identify the spacing sweet spots. This has been my standard live performance protocol for a long time.
Cutting the number of hot mics in half works wonders in managing live SR performance. There is no right or wrong way to do any of this stuff : what we have are many options that all bear advantages and disadvantages. Hugh