You need two reasonable condenser mics, point them at slightly different parts of the instrument to get some dimension to the sound. Play with the level loud enough in headphones to mask the guitar itself while you move it or the mics to get a good sound and blend with these mics. Remember the 3-to-one rule for mic distance, and an X-Y configuration (whatever the angle) will give you the most focused sound. Stand or sit above a large plywood or hardboard sheet if your room is soft furnished too, this gives some life (some early reflections) to the recording. I'd record the pickup also, just i case it blends in or it's the only way you can save a bad recording of the best performance -there are loads of cab and room emulators out there too, for some alternative flavouring ;) Have fun good luck! >

Exactly what planetnine said. You want at least two captures of the sound using two different mics. I'm sorry, but 58s won't get you far with an acoustic. To my mind (and I am a guitarist/producer, performing and engineering since the mid-'70s), acoustic guitar is about the hardest instrument to get perfect. It can make or break any album that features it more than marginally. We all have in our heads some of the classic albums that had some version of perfect acoustic. And that is part of the problem: even the most unmusical listener has several versions of all-time great acoustic tone imprinted in their brains. Most know instinctively when it's duff or 'meh'. Those Fishman as a third to mix in? Fine. And I know they offer some great models of those sort these days, but those were made to do live sound really, to save the hassle of live mic'ing. It takes lots of time, experimenting and practice, if you are new to recording the instrument, but you will get there if you invest the effort. Start with planetnine's instructions and go from there. Also, the ROOM makes a big difference with acoustic, but you probably already know that. Don't go overboard with FX processing unless that is absolutely the only way you can cover up a less than A or A+ job. On a good take, less FX is more. Finally, you can't make a silk purse out of sow's ear, so if you are recording your beater guitar, it will end up sounding like an enhanced beater guitar even if you have knowhow. Try to borrow something really top-of-the-line -- you'll be so glad you did. And KNOW the the guitar you are using. You don't want any surprises on an acoustic; they can be extremely unforgiving. Cheers and good luck!

I have got a big sound with lots of presence by recording the pickup and a mic recording simultaneously on two separate tracks. Maybe experiment with mic placement to even up frequency response - my piezo pickup captured the treble and middle pretty good. You can the combine the two in any way that works (eg panning, separate processing even...).

Breedloves are wonderful guitars. I've heard two played live and spent some time on another once. If you think it may record too bright, you can EQ it out later -- not too hard to cut on an acoustic. But the converse! -- so hard to EQ-add on an acoustic, such as a cheap guitar, and make it sound authentic. One trick many use if they must play a loved guitar but records bright. Have your strings be X days old, where you know they are at that perfect state of mellow enough. That's a common trick with bright or trebly Strats and certain Teles, too, but I'm sure you knew this trick too.

You can actually tame some of the brightness with compression, pull some of the string attack down with the timing controls (attack/release), but use your bypass switch to listen and dint overdo it ;) >