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acoustic guitar from “new slang” by the shins | ToneDB

new slang

the shins

acoustic guitar

85% ai confidence

Tone Profile

A warm, intimate, and slightly lo-fi acoustic tone with a clear, articulate pick attack, characteristic of a closely miked small-body guitar. The prominent double-tracking creates a gentle, natural chorus effect and stereo width.

Signal Chain

Instrument: Vintage Gibson small-body acoustic guitar (e.g., B-25 or LG series, borrowed by James Mercer)

Microphone: Shure SM57

Processing: ART Tube MP (mic preamp), Cool Edit Pro (DAW for recording, potential light EQ/compression during mixdown)

Other: Close mic placement (e.g., aimed at 12th-14th fret or where neck meets body). Guitar part is double-tracked and panned (e.g., 30% L / 30% R). Recorded in a spare bedroom/closet, contributing to a dry, focused sound.

Recording Notes

  • Recorded by James Mercer in a home studio environment (spare bedroom/closet) for the album 'Oh, Inverted World'.
  • James Mercer stated in a Tape Op interview that he used an "old Gibson acoustic" borrowed from Neal Langford.
  • He specifically recalled using a Shure SM57 microphone into an ART Tube MP preamp for the acoustic guitar on "New Slang".
  • The track was recorded to a PC using Cool Edit Pro software.
  • The distinctive stereo width and texture of the acoustic guitar comes from double-tracking the part.

Recreation Tips

  • Use a vintage-style small-body acoustic guitar if possible (e.g., Gibson B-25, LG-2, Martin 0-series).
  • Employ a dynamic microphone like a Shure SM57, positioned relatively close to the guitar (3-6 inches), aimed towards the 12th-14th fret or where the neck joins the body. This helps capture the articulate pick attack and minimizes excessive boominess.
  • If you have one, an Oktava MK-012 (another mic Mercer used on the album) can also yield good results, perhaps offering a bit more top-end detail than the SM57.
  • Utilize a simple tube preamp. If an ART Tube MP isn't available, a plugin emulation or another budget-friendly tube preamp can add subtle warmth.
  • Record two separate, tight performances of the guitar part. Pan one take moderately to the left (e.g., 70-80% L) and the other moderately to the right (e.g., 70-80% R). Slight variations in timing and performance between the takes will create the natural chorus effect.
  • Keep the sound relatively dry; avoid using heavy reverb. The original has an intimate, direct quality.
  • Apply light compression to even out the dynamics of the acoustic guitar, but avoid squashing the sound.
  • Minimal EQ should be needed. If anything, a slight cut in the low-mids (200-400Hz) might clean up muddiness, and a gentle boost in the upper-mids (2-5kHz) can enhance clarity if required.

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