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Recording Acoustic Guitar | Audio

Hear For Yourself
Published April 2010
By Mike Senior

Here is a selection of audio files to accompany this month's Acoustic Guitar Recording (/sos/apr10/articles/acguitar.htm).

In this article you'll find links and full descriptions for all the audio files created to accompany this month's acoustic guitar recording feature. The files fall into four sections: Mic Shootout, Guitar Dispersion, Alternative Mic Positions, and Mixing Demonstrations. The best way to audition these files is to import them all into your DAW for side‑by‑side comparison, and this also means that you can experiment with mixing different mic models and placements, as many producers actually do in practice.

Mic Shootout

The first set of audio examples (filenames beginning 'Mic') illustrates the character of a range of different microphones that have been frequently mentioned in SOS's producer interviews when discussing the subject of acoustic guitars. A total of nine microphones were simultaneously used to record three different guitars from a position roughly 18 inches in front of the guitar. The mics were set up in as close a pattern as possible, all pointing roughly at the join between the guitar's neck and body. The identity of the mic used for each file can be ascertained from the third section of the filename, as follows:

4038: Coles 4038 ribbon mic, which has by nature a figure‑of‑eight polar pattern.

C12: AKG C12 multi‑pattern large‑diaphragm valve condenser mic, switched to its cardioid polar pattern.

C414BULS: AKG C414B‑ULS multi‑pattern large‑diaphragm condenser mic, switched to its cardioid polar pattern.

C451: AKG C451 small‑diaphragm condenser microphone fitted with its CK1 cardioid capsule.

SE4: SE Electronics SE4 medium‑diaphragm condenser mic fitted with its cardioid capsule. This mic was included for comparison purposes, because it is used for subsequent mic‑positioning examples.

SM57: Shure SM57 cardioid dynamic mic.

U47: Neumann U47 multi‑pattern large‑diaphragm valve condenser mic, switched to its cardioid polar pattern.

U67: Neumann U67 multi‑pattern large‑diaphragm valve condenser mic, switched to its cardioid polar pattern.

U87: Neumann U87 multi‑pattern large‑diaphragm condenser mic, switched to its cardioid polar pattern.

Because all these mics were recorded together, you can experiment with how their different flavours mix and match. The signal waveforms have all been checked for identical polarity and the coincident miking position means that the different mic signals are fairly well time‑aligned, so you should be able to combine the different microphones without serious phase cancellation. All the microphones were recorded for three different guitars, and you can tell which guitar is used from the second section of each filename as follows:

Gtr1: A Taylor The DI output of this guitar was also recorded alongside the mic signals (filename 'Mics_Gtr1_DI'), allowing you to experiment with mixing in the DI signal alongside different mic flavours. Note that the DI signal arrives slightly in advance of the mic signals, because of the delay involved in sound passing from the guitar strings through the air to the mics, so you may wish to slide this waveform earlier in your sequencer to achieve a better phase match.

Gtr2: An Art & Luthiere.

Gtr3: A Huss & Dalton.

Guitar Dispersion

The second set of audio examples (filenames beginning 'Disp') use multiple SE Electronics SE4 medium‑diaphragm condenser microphones (with cardioid and omni polar patterns) to demonstrate how different aspects of the guitar's tone are captured from different mic positions. The microphone position for each file is shown by the third and fourth sections of each filename as follows:

Bridge_ClsCard: A cardioid mic roughly nine inches from the front of the guitar, aimed at a point a little left of the instrument's bridge. Here the body resonances are more pronounced.

Frets_ClsCard: A cardioid mic roughly nine inches from the front of the guitar, aimed at the fifth fret. Here the sound of the strings is emphasised, along with fretting noises and occasional string buzzes.

OnSH_ClsCard: A cardioid mic roughly nine inches from the front of the guitar, aimed directly at the soundhole. The instrument's air resonance is emphasised in this location, as well as the pick noise.

OverSH_ClsCard, OverSH_MidCard, OverSH_FarCard: Cardioid mics located in front of the guitar and located above the level of the soundhole, angled downwards to aim at a point a little above the soundhole. This general position is one of the two most commonly cited in my survey of producer interviews, so I've also set up mics at different distances from the instrument to give an idea of the different timbral variations you can achieve in this way: 'ClsCard' is at roughly nine inches away, 'MidCard' at roughly 18 inches, and 'FarCard' at roughly three feet. Notice how the mic picks up a more holistic sound of the instrument as it's moved away, but how at the same time the level of proximity‑effect bass boost decreases and the amount of room ambience increases.

OverSH_ClsOmni: As 'OverSH_ClsCard', except using the mic's omni capsule. Notice how this picks up a more balanced view of the instrument, but at the same time a greater level of room ambience.

UnderSH_ClsCard: As 'OverSH_ClsCard, except with the mic under the level of the soundhole, rather than above. The tonality achieved is nonetheless dramatically different.

Vanilla_ClsCard, Vanilla_MidCard, Vanilla_FarCard, Vanilla_ClsOmni: Cardioid and omni mics located in front of the guitar a little over the fretboard and angled inwards to aim at the point where the guitar's neck meets its body. This position is probably the most frequently recommended recording technique for recording acoustic guitars, as it enables a balance to be achieved between the sound of the strings themselves and the resonance contributions of the body and soundhole, depending on the exact location and orientation of the mic. As with the 'OverSH' examples, I've taken the opportunity to demonstrate how the sound changes for this position with distance and changing polar pattern. Again, 'ClsCard' is roughly nine inches away from the instrument, 'MidCard' is roughly 18 inches away, and 'FarCard' is roughly three feet away. The 'ClsOmni' file positions an omni mic as close as possible to 'Vanilla_ClsCard' for comparison.

This entire multi‑mic rig was recorded with the same three guitars as before, and a DI signal was again captured alongside the mics for the 'Gtr1' files. In addition two further sets of 'Gtr1' audio examples were recorded with the Taylor guitar, the first denoted 'Gtr1Baff', in which the Taylor guitar and multi‑mic rig were surrounded with numerous acoustic panels and blankets to significantly deaden the otherwise live acoustic of the drum room in Livingston Studio One. Reflections from both the wooden floor and the stone walls were tackled, and the change in sound is clearly audible in the recordings. Notice in particular how the more distant mics become tighter‑sounding, and also how the sonic variations between the closer mic positions become exaggerated, such that the exact choice of mic position becomes more critical. The second additional set of files is denoted 'Gtr1Refl' and here the Taylor guitar and its multi‑mic rig were surrounded with a number of hard‑surfaced panels angled to reflect more of the sound of the guitar back into the mics, a technique I discussed in the article.

Alternative Mic Positions

This third set of audio examples (filenames beginning 'Alt') showcases some alternative mic positions worth considering alongside the two primary ones already covered in the 'Disp' files. The mic position for each file is denoted by the third section of the filename as follows:

EarL, EarR, EarSt: Cardioid mics were positioned either side of the performer's head looking down on the instrument from above. The mics were roughly 12 inches away from the guitar and were slightly forward of the line of the instrument's front panel to avoid high‑frequency shadowing of the strings by the performer and the instrument's body. The 'EarL' and 'EarR' files are to the left and right of the performer respectively from the audience's perspective. A composite file, 'EarSt' is a mix of 'EarL' and 'EarR' panned slightly off centre to give a slightly wider guitar image in the stereo field.

OverSH: A cardioid mic roughly 12 inches from the guitar, positioned as for the similarly named files in the 'Disp' set. This file is for comparison and mixing with the other alternate mic techniques here.

OverTail, UnderTail: Two cardioid mics positioned around the tail of the guitar pointing roughly towards the soundhole and slightly in front of the front panel to reduce high‑frequency shielding from the instrument's body and from player's right arm. These two positions have the advantage of being a long way from the fretboard, which can help reduce unwanted noises when recording soft fingerpicking parts.

VanillaCls, VanillaMid, VanillaFar: The first of these files is a cardioid mic roughly 12 inches from the guitar, positioned as for the similarly named files in the 'Disp' set. 'VanillaMid' and 'VanillaFar' are positioned two and four inches further away respectively to demonstrate the role that phase‑relationships can play in multi‑mic rigs. First compare the differences between the each of these mics in solo, so that you have an idea of the difference that the position change alone is making. Now try mixing 'VanillaCls' with one of the other mics (for example 'OverSH'), and then switch 'VanillaCls' for 'VanillaMid' or 'VanillaFar' to get a feel for how the changing phase‑relationship between the mixed mics can alter the sound.

XYL, XYR, XYSt: A pair of cardioid mics set up in an XY coincident configuration around 12 inches away from the front of the guitar, centred roughly on the point when the instrument's neck meets its body. Although at this distance both mics pick up quite a lot of the instrument, you can nonetheless hear how the left‑facing mic is picking up more of the soundhole/body components, while the right‑facing mic is catching more of the string noise, which means that mixing the two mics together provides a degree of tonal control after recording. (Closer mic placement emphasises this difference between the mics, albeit at the expense of a slightly drier and less natural sound.) The 'XYSt' file is a mix of 'XYL' and 'XLR' with the two mics panned a little off centre to give a little width to the stereo image.

Mixing Demonstrations

The final set of audio examples (filenames beginning 'Mixing') demonstrate some of the mixing techniques I mentioned in the article. The examples with filenames containing 'GtrMix' show a few of the ways you can enhance a fairly respectable guitar recording:

Unprocessed: Here is a mono mix of two of the different mics recording the Taylor guitar in the 'Disp_Gtr1' file set: primarily 'UnderSH_ClsCard', with a lower level of 'Vanilla_CloseOmni'. Beyond balancing the levels of the mics against each other, no processing has yet been applied.

LowRatioComp: Low‑threshold (‑33dBFS), low‑ratio (1.8:1) compression from URS Console Strip Pro has been used here to even out the performance dynamics slightly and to subtly increase sustain. Despite up to around 5dB gain reduction on occasion, the combination of medium attack time (10ms) and programme‑dependent automatic release ensures that the the transients and short‑term dynamics remain pretty natural.

WarmReverb: A straightforward short Room reverb from Lexicon's Pantheon II plug‑in has been used to gently widen and warm the compressed acoustic guitar sound of 'LowRatioComp'. In order to avoid cluttering the sound or creating distracting echoes of pick noises, the response of the reverb has been curtailed with both high‑pass and low‑pass filters in the return channel.

MicroReverb: Compare the tonality of this file with 'LowRatioComp', and you can hear that it's quite different. However, the difference was achieved through extremely short reverb rather than via EQ: because of a lack of any predelay the early reflections following the dry signal occur early enough to colour the sound through comb‑filtering, but the reverb is too short to be heard as any kind of 'tail' in its own right.

SubtleChorus: Another tactic for smoothing and widening an acoustic guitar recording is applying a small amount of a stereo modulation effect. In this example I've used a simple low‑level chorus effect to spice up the 'LowRatioComp file'. It's worth comparing this not only to the dry 'LowRatioComp' file, but also to the 'WarmReverb' example.

The 'BoomTick' examples illustrate how you might deal with a couple of the most common problems with less‑than‑ideal acoustic guitar recordings:

Unprocessed: This is the sound of a mic pointing directly at the soundhole, and as such has a good deal of unevenness in the volume of the lowest notes as well as too much pick noise. No processing has yet been applied to this mic so that you can use it for comparison against the other files.

NotchEQ: The low‑frequency unevenness is on account of the sound‑hole resonance, which is unmusically amplifying the fundamental frequencies of a couple of notes. Extremely narrow‑band 7.5dB EQ cuts focused on these two fundamental frequencies (100Hz and 111Hz respectively) helps even this up, but at the expense of a certain hollowness in the sound. For better results, these notch EQ bands could be activated only when the offending notes occur.

PickComp: One method of reducing pick noise is to use a fast‑attack compressor to target the pick transients, and that's what I've now done to the 'NotchEQ' example using URS Console Strip Pro. The plug‑in's Dbx 160 model has been set to a 4:1 ratio with attack and release times of 0.1ms and 4.9ms respectively.

PickMultiComp: You can achieve greater control over high‑frequency attack transients such as pick noise using the high band of a multi‑band compressor. This example applies such processing to the 'NotchEQ' example file using Cubase 5's built‑in Multiband Compressor plug‑in, processing a region above 4kHz with a 5.5:1 ratio and attack and release times of 0.1ms and 10ms respectively.

PickTrans: Another tactic for targeting pick noise more aggressively is to use a dedicated transient processor. This audio example uses the plug‑in version of SPL's Transient Designer to process the 'NotchEQ' example in this way, dramatically reducing the levels of the pick transients.

The 'FretNoise' examples show one approach to dealing with one of the most challenging of acoustic‑guitar salvage tasks: the reduction of excessive fret noise:

Unprocessed: Here's a recording that includes extremely high levels of fret noise, which detract from the performance.

AutoEQ: One of the only effective ways to deal with the problem, in my experience, is to automate a high‑frequency EQ cut just during the periods of fret noise to take the edge off them. That's what I've done for this example, using 12‑24dB of cut from a 2.3kHz high shelving filter in Cubase 5's built‑in channel EQ for the purpose..

Mic Shootout

Download | Original MP3 16.3 MB
Download | Original WAV 67.1 MB

Mics_Gtr1_4038 Audio icon micsgtr14038.mp3 File micsgtr14038.wav

Mics_Gtr1_C12 Audio icon micsgtr1c12.mp3 File micsgtr1c12.wav

Mics_Gtr1_C414BULS Audio icon micsgtr1c414buls.mp3 File micsgtr1c414buls.wav

Mics_Gtr1_C451 Audio icon micsgtr1c451.mp3 File micsgtr1c451.wav

Mics_Gtr1_DI Audio icon micsgtr1di.mp3 File micsgtr1di.wav

Mics_Gtr1_SE4 Audio icon micsgtr1se4.mp3 File micsgtr1se4.wav

Mics_Gtr1_SM57 Audio icon micsgtr1sm57.mp3 File micsgtr1sm57.wav

Mics_Gtr1_U47 Audio icon micsgtr1u47.mp3 File micsgtr1u47.wav

Mics_Gtr1_U67 Audio icon micsgtr1u67.mp3 File micsgtr1u67.wav

Mics_Gtr1_U87 Audio icon micsgtr1u87.mp3 File micsgtr1u87.wav

Mics_Gtr2_4038 Audio icon micsgtr24038.mp3 File micsgtr24038.wav

Mics_Gtr2_C12 Audio icon micsgtr2c12.mp3 File micsgtr2c12.wav

Mics_Gtr2_C414BULS Audio icon micsgtr2c414buls.mp3 File micsgtr2c414buls.wav

Mics_Gtr2_C451 Audio icon micsgtr2c451.mp3 File micsgtr2c451.wav

Mics_Gtr2_SE4 Audio icon micsgtr2se4.mp3 File micsgtr2se4.wav

Mics_Gtr2_SM57 Audio icon micsgtr2sm57.mp3 File micsgtr2sm57.wav

Mics_Gtr2_U47 Audio icon micsgtr2u47.mp3 File micsgtr2u47.wav

Mics_Gtr2_U67 Audio icon micsgtr2u67.mp3 File micsgtr2u67.wav

Mics_Gtr2_U87 Audio icon micsgtr2u87.mp3 File micsgtr2u87.wav

Mics_Gtr3_4038 Audio icon micsgtr34038.mp3 File micsgtr34038.wav

Mics_Gtr3_C12 Audio icon micsgtr3c12.mp3 File micsgtr3c12.wav

Mics_Gtr3_C414BULS Audio icon micsgtr3c414buls.mp3 File micsgtr3c414buls.wav

Mics_Gtr3_C451 Audio icon micsgtr3c451.mp3 File micsgtr3c451.wav

Mics_Gtr3_SE4 Audio icon micsgtr3se4.mp3 File micsgtr3se4.wav

Mics_Gtr3_SM57 Audio icon micsgtr3sm57.mp3 File micsgtr3sm57.wav

Mics_Gtr3_U47 Audio icon micsgtr3u47.mp3 File micsgtr3u47.wav

Mics_Gtr3_U67 Audio icon micsgtr3u67.mp3 File micsgtr3u67.wav

Mics_Gtr3_U87 Audio icon micsgtr3u87.mp3 File micsgtr3u87.wav

Alternative Positions

Download | Original MP3 19.7 MB
Download | Original WAV 88.9 MB

Alt_Gtr1_DI Audio icon altgtr1di.mp3 File altgtr1di.wav

Alt_Gtr1_EarL Audio icon altgtr1earl.mp3 File altgtr1earl.wav

Alt_Gtr1_EarR Audio icon altgtr1earr.mp3 File altgtr1earr.wav

Alt_Gtr1_EarSt Audio icon altgtr1earst.mp3 File altgtr1earst.wav

Alt_Gtr1_OverSH Audio icon altgtr1oversh.mp3 File altgtr1oversh.wav

Alt_Gtr1_OverTail Audio icon altgtr1overtail.mp3 File altgtr1overtail.wav

Alt_Gtr1_UnderTail Audio icon altgtr1undertail.mp3 File altgtr1undertail.wav

Alt_Gtr1_VanillaCls Audio icon altgtr1vanillacls.mp3 File altgtr1vanillacls.wav

Alt_Gtr1_VanillaFar Audio icon altgtr1vanillafar.mp3 File altgtr1vanillafar.wav

Alt_Gtr1_VanillaMid Audio icon altgtr1vanillamid.mp3 File altgtr1vanillamid.wav

Alt_Gtr1_XYL Audio icon altgtr1xyl.mp3 File altgtr1xyl.wav

Alt_Gtr1_XYR Audio icon altgtr1xyr.mp3 File altgtr1xyr.wav

Alt_Gtr1_XYSt Audio icon altgtr1xyst.mp3 File altgtr1xyst.wav

Alt_Gtr2_EarL Audio icon altgtr2earl.mp3 File altgtr2earl.wav

Alt_Gtr2_EarR Audio icon altgtr2earr.mp3 File altgtr2earr.wav

Alt_Gtr2_OverSH Audio icon altgtr2oversh.mp3 File altgtr2oversh.wav

Alt_Gtr2_OverTail Audio icon altgtr2overtail.mp3 File altgtr2overtail.wav

Alt_Gtr2_UnderTail Audio icon altgtr2undertail.mp3 File altgtr2undertail.wav

Alt_Gtr2_VanillaCls Audio icon altgtr2vanillacls.mp3 File altgtr2vanillacls.wav

Alt_Gtr2_VanillaFar Audio icon altgtr2vanillafar.mp3 File altgtr2vanillafar.wav

Alt_Gtr2_VanillaMid Audio icon altgtr2vanillamid.mp3 File altgtr2vanillamid.wav

Alt_Gtr2_XYL Audio icon altgtr2xyl.mp3 File altgtr2xyl.wav

Alt_Gtr2_XYR Audio icon altgtr2xyr.mp3 File altgtr2xyr.wav

Alt_Gtr3_EarL Audio icon altgtr3earl.mp3 File altgtr3earl.wav

Alt_Gtr3_EarR Audio icon altgtr3earr.mp3 File altgtr3earr.wav

Alt_Gtr3_OverSH Audio icon altgtr3oversh.mp3 File altgtr3oversh.wav

Alt_Gtr3_OverTail Audio icon altgtr3overtail.mp3 File altgtr3overtail.wav

Alt_Gtr3_UnderTail Audio icon altgtr3undertail.mp3 File altgtr3undertail.wav

Alt_Gtr3_VanillaCls Audio icon altgtr3vanillacls.mp3 File altgtr3vanillacls.wav

Alt_Gtr3_VanillaFar Audio icon altgtr3vanillafar.mp3 File altgtr3vanillafar.wav

Alt_Gtr3_VanillaMid Audio icon altgtr3vanillamid.mp3 File altgtr3vanillamid.wav

Alt_Gtr3_XYL Audio icon altgtr3xyl.mp3 File altgtr3xyl.wav

Alt_Gtr3_XYR Audio icon altgtr3xyr.mp3 File altgtr3xyr.wav

Mixing

Download | Original MP3 3.7 MB
Download | Original WAV 34.8 MB

Mixing_BoomTick01_Unprocessed Audio icon mixingboomtick01unprocessed.mp3 File mixingboomtick01unprocessed.wav

Mixing_BoomTick02_NotchEQ Audio icon mixingboomtick02notcheq.mp3 File mixingboomtick02notcheq.wav

Mixing_BoomTick03_PickComp Audio icon mixingboomtick03pickcomp.mp3 File mixingboomtick03pickcomp.wav

Mixing_BoomTick04_PickMultiComp Audio icon mixingboomtick04pickmulticomp.mp3 File mixingboomtick04pickmulticomp.wav

Mixing_BoomTick05_PickTrans Audio icon mixingboomtick05picktrans.mp3 File mixingboomtick05picktrans.wav

Mixing_FretNoise01_Unprocessed Audio icon mixingfretnoise01unprocessed.mp3 File mixingfretnoise01unprocessed.wav

Mixing_FretNoise02_AutoEQ Audio icon mixingfretnoise02autoeq.mp3 File mixingfretnoise02autoeq.wav

Mixing_GtrMix01_Unprocessed Audio icon mixinggtrmix01unprocessed.mp3 File mixinggtrmix01unprocessed.wav

Mixing_GtrMix02_LowRatioComp Audio icon mixinggtrmix02lowratiocomp.mp3 File mixinggtrmix02lowratiocomp.wav

Mixing_GtrMix03_WarmReverb Audio icon mixinggtrmix03warmreverb.mp3 File mixinggtrmix03warmreverb.wav

Mixing_GtrMix04_MicroReverb Audio icon mixinggtrmix04microreverb.mp3 File mixinggtrmix04microreverb.wav

Mixing_GtrMix05_SubtleChorus Audio icon mixinggtrmix05subtlechorus.mp3 File mixinggtrmix05subtlechorus.wav

Guitar Dispersion

Download | Original MP3 36.9 MB
Download | Original WAV 154.5 MB

Disp_Gtr1_Bridge_ClsCard Audio icon dispgtr1bridgeclscard.mp3 File dispgtr1bridgeclscard.wav

Disp_Gtr1_DI Audio icon dispgtr1di.mp3 File dispgtr1di.wav

Disp_Gtr1_Frets_ClsCard Audio icon dispgtr1fretsclscard.mp3 File dispgtr1fretsclscard.wav

Disp_Gtr1_OnSH_ClsCard Audio icon dispgtr1onshclscard.mp3 File dispgtr1onshclscard.wav

Disp_Gtr1_OverSH_ClsCard Audio icon dispgtr1overshclscard.mp3 File dispgtr1overshclscard.wav

Disp_Gtr1_OverSH_ClsOmni Audio icon dispgtr1overshclsomni.mp3 File dispgtr1overshclsomni.wav

Disp_Gtr1_OverSH_FarCard Audio icon dispgtr1overshfarcard.mp3 File dispgtr1overshfarcard.wav

Disp_Gtr1_OverSH_MidCard Audio icon dispgtr1overshmidcard.mp3 File dispgtr1overshmidcard.wav

Disp_Gtr1_UnderSH_ClsCard Audio icon dispgtr1undershclscard.mp3 File dispgtr1undershclscard.wav

Disp_Gtr1_Vanilla_ClsCard Audio icon dispgtr1vanillaclscard.mp3 File dispgtr1vanillaclscard.wav

Disp_Gtr1_Vanilla_ClsOmni Audio icon dispgtr1vanillaclsomni.mp3 File dispgtr1vanillaclsomni.wav

Disp_Gtr1_Vanilla_FarCard Audio icon dispgtr1vanillafarcard.mp3 File dispgtr1vanillafarcard.wav

Disp_Gtr1_Vanilla_MidCard Audio icon dispgtr1vanillamidcard.mp3 File dispgtr1vanillamidcard.wav

Disp_Gtr1Baff_Bridge_ClsCard Audio icon dispgtr1baffbridgeclscard.mp3 File dispgtr1baffbridgeclscard.wav

Disp_Gtr1Baff_DI Audio icon dispgtr1baffdi.mp3 File dispgtr1baffdi.wav

Disp_Gtr1Baff_Frets_ClsCard Audio icon dispgtr1bafffretsclscard.mp3 File dispgtr1bafffretsclscard.wav

Disp_Gtr1Baff_OnSH_ClsCard Audio icon dispgtr1baffonshclscard.mp3 File dispgtr1baffonshclscard.wav

Disp_Gtr1Baff_OverSH_ClsCard Audio icon dispgtr1baffovershclscard.mp3 File dispgtr1baffovershclscard.wav

Disp_Gtr1Baff_OverSH_ClsOmni Audio icon dispgtr1baffovershclsomni.mp3 File dispgtr1baffovershclsomni.wav

Disp_Gtr1Baff_OverSH_FarCard Audio icon dispgtr1baffovershfarcard.mp3 File dispgtr1baffovershfarcard.wav

Disp_Gtr1Baff_OverSH_MidCard Audio icon dispgtr1baffovershmidcard.mp3 File dispgtr1baffovershmidcard.wav

Disp_Gtr1Baff_UnderSH_ClsCard Audio icon dispgtr1baffundershclscard.mp3 File dispgtr1baffundershclscard.wav

Disp_Gtr1Baff_Vanilla_ClsCard Audio icon dispgtr1baffvanillaclscard.mp3 File dispgtr1baffvanillaclscard.wav

Disp_Gtr1Baff_Vanilla_ClsOmni Audio icon dispgtr1baffvanillaclsomni.mp3 File dispgtr1baffvanillaclsomni.wav

Disp_Gtr1Baff_Vanilla_FarCard Audio icon dispgtr1baffvanillafarcard.mp3 File dispgtr1baffvanillafarcard.wav

Disp_Gtr1Baff_Vanilla_MidCard Audio icon dispgtr1baffvanillamidcard.mp3 File dispgtr1baffvanillamidcard.wav

Disp_Gtr1Refl_Bridge_ClsCard Audio icon dispgtr1reflbridgeclscard.mp3 File dispgtr1reflbridgeclscard.wav

Disp_Gtr1Refl_DI Audio icon dispgtr1refldi.mp3 File dispgtr1refldi.wav

Disp_Gtr1Refl_Frets_ClsCard Audio icon dispgtr1reflfretsclscard.mp3 File dispgtr1reflfretsclscard.wav

Disp_Gtr1Refl_OnSH_ClsCard Audio icon dispgtr1reflonshclscard.mp3 File dispgtr1reflonshclscard.wav

Disp_Gtr1Refl_OverSH_ClsCard Audio icon dispgtr1reflovershclscard.mp3 File dispgtr1reflovershclscard.wav

Disp_Gtr1Refl_OverSH_ClsOmni Audio icon dispgtr1reflovershclsomni.mp3 File dispgtr1reflovershclsomni.wav

Disp_Gtr1Refl_OverSH_FarCard Audio icon dispgtr1reflovershfarcard.mp3 File dispgtr1reflovershfarcard.wav

Disp_Gtr1Refl_OverSH_MidCard Audio icon dispgtr1reflovershmidcard.mp3 File dispgtr1reflovershmidcard.wav

Disp_Gtr1Refl_UnderSH_ClsCard Audio icon dispgtr1reflundershclscard.mp3 File dispgtr1reflundershclscard.wav

Disp_Gtr1Refl_Vanilla_ClsCard Audio icon dispgtr1reflvanillaclscard.mp3 File dispgtr1reflvanillaclscard.wav

Disp_Gtr1Refl_Vanilla_ClsOmni Audio icon dispgtr1reflvanillaclsomni.mp3 File dispgtr1reflvanillaclsomni.wav

Disp_Gtr1Refl_Vanilla_FarCard Audio icon dispgtr1reflvanillafarcard.mp3 File dispgtr1reflvanillafarcard.wav

Disp_Gtr1Refl_Vanilla_MidCard Audio icon dispgtr1reflvanillamidcard.mp3 File dispgtr1reflvanillamidcard.wav

Disp_Gtr2_Bridge_ClsCard Audio icon dispgtr2bridgeclscard.mp3 File dispgtr2bridgeclscard.wav

Disp_Gtr2_Frets_ClsCard Audio icon dispgtr2fretsclscard.mp3 File dispgtr2fretsclscard.wav

Disp_Gtr2_OnSH_ClsCard Audio icon dispgtr2onshclscard.mp3 File dispgtr2onshclscard.wav

Disp_Gtr2_OverSH_ClsCard Audio icon dispgtr2overshclscard.mp3 File dispgtr2overshclscard.wav

Disp_Gtr2_OverSH_ClsOmni Audio icon dispgtr2overshclsomni.mp3 File dispgtr2overshclsomni.wav

Disp_Gtr2_OverSH_FarCard Audio icon dispgtr2overshfarcard.mp3 File dispgtr2overshfarcard.wav

Disp_Gtr2_OverSH_MidCard Audio icon dispgtr2overshmidcard.mp3 File dispgtr2overshmidcard.wav

Disp_Gtr2_UnderSH_ClsCard Audio icon dispgtr2undershclscard.mp3 File dispgtr2undershclscard.wav

Disp_Gtr2_Vanilla_ClsCard Audio icon dispgtr2vanillaclscard.mp3 File dispgtr2vanillaclscard.wav

Disp_Gtr2_Vanilla_ClsOmni Audio icon dispgtr2vanillaclsomni.mp3 File dispgtr2vanillaclsomni.wav

Disp_Gtr2_Vanilla_FarCard Audio icon dispgtr2vanillafarcard.mp3 File dispgtr2vanillafarcard.wav

Disp_Gtr2_Vanilla_MidCard Audio icon dispgtr2vanillamidcard.mp3 File dispgtr2vanillamidcard.wav

Disp_Gtr3_Bridge_ClsCard Audio icon dispgtr3bridgeclscard.mp3 File dispgtr3bridgeclscard.wav

Disp_Gtr3_Fret_ClsCard Audio icon dispgtr3fretclscard.mp3 File dispgtr3fretclscard.wav

Disp_Gtr3_OnSH_ClsCard Audio icon dispgtr3onshclscard.mp3 File dispgtr3onshclscard.wav

Disp_Gtr3_OverSH_ClsCard Audio icon dispgtr3overshclscard.mp3 File dispgtr3overshclscard.wav

Disp_Gtr3_OverSH_ClsOmni Audio icon dispgtr3overshclsomni.mp3 File dispgtr3overshclsomni.wav

Disp_Gtr3_OverSH_FarCard Audio icon dispgtr3overshfarcard.mp3 File dispgtr3overshfarcard.wav

Disp_Gtr3_OverSH_MidCard Audio icon dispgtr3overshmidcard.mp3 File dispgtr3overshmidcard.wav

Disp_Gtr3_UnderSH_ClsCard Audio icon dispgtr3undershclscard.mp3 File dispgtr3undershclscard.wav

Disp_Gtr3_Vanilla_ClsCard Audio icon dispgtr3vanillaclscard.mp3 File dispgtr3vanillaclscard.wav

Disp_Gtr3_Vanilla_ClsOmni Audio icon dispgtr3vanillaclsomni.mp3 File dispgtr3vanillaclsomni.wav

Disp_Gtr3_Vanilla_FarCard Audio icon dispgtr3vanillafarcard.mp3 File dispgtr3vanillafarcard.wav

Disp_Gtr3_Vanilla_MidCard Audio icon dispgtr3vanillamidcard.mp3 File dispgtr3vanillamidcard.wav

Published April 2010