It has taken ten years of guitar construction and development to achieve the quality of sound produced by The KINNY Stereo Acoustic Guitar.
Initially, Paul started designing and making guitar type instruments that were suited to recording purposes only. The sounds he worked towards usually had a clean lower frequency response. This lack of a 'muddy bottom end' suited the guitar ensemble recording activities that he was becoming involved in.
Four stringed guitars, Nashville tuned guitars, Soprano guitars, Baritone Guitars, Electric and Classical guitars were developed and recorded to test their studio characteristics.
Strumming and picking guitars were then developed.
One major aim was to create a solo guitar sound that when recorded would sound as though the guitarist was in the room with you. The KINNY Stereo Acoustic Guitar was born.
A knowledge of speaker box technology, acoustics and construction techniques not only created a great guitar for recording purposes but a guitar, that for once, gave the player a sound experience far beyond that of any conventional instrument.
The KINNY Stereo Acoustic Guitar allows many options because of its design.
For a complete stereo image place two microphones near the two sound holes.
Panning one mic left and the other right is all that is necessary to achieve that live sound.
Good results have been achieved using condenser mics.
Adding a third large diaphragm mic near the bridge can be introduced to make the sound more dense, if needed.
Crisper tonal qualities can be achieved by close miking in front of the 2 sound boards.
Close listening will reveal interesting sounds available to be miked.
Current experiments have led to the use of DPA microphones for that natural guitar sound.
Up to three DP-IMK4061's have been used successfully to achieve that live studio sound.
One mic next to the bridge on the bass side and the remaining two mounted at the edges of the two sound holes. For ensemble situations one mic next to the bridge results in an excellent acoustic sound.