One more time removing body resomaces from acoustic guitars

I’d be careful with this, presuming you have captured things well, no boominess?

I’d go the opposite way and just get guitars with different bought widths, which naturally controls their resonance?

Sorry:, the width of the guitar: dreadnought is a large bought, a parlour guitar is small ?

I think he means "bout", not "bought".

I just use super tight Notching filters and lower it.

I've found smaller guitars, like an 000 size record nicely. My Martin D-41 was the best sounding guitar I've ever heard, but a bit too boomy in a track.

Yes, it's about fitting in not standing out. Perhaps if a song was mainly acoustic and a vocal a fine dreadnaught would be the best choice, but in songs with lots of tracks, a slightly flatter more even guitar can often do a better job. I prefer a Martin to a Gibson, but their J45 records nicely because it has a softer smaller sound.

Just to resonate with Adam, tight, high Q notch filters at specific frequencies are your friend in the mix window. I often use Waves Q10 or T Racks Equal for this kind of thing.

Not just guitars, either, but nearly any instrument could need "notching" to get rid of annoying prominent frequencies.

I don’t like to notch it out totally. It’s part of the sound of the guitar. Sometimes not at all unless it creates room for other instruments. Consider a few db cut at most with surgical eq or a single db or two with a wider but still somewhat natural eq. Whatever solves your problem, fits it in the mix, and still sounds natural. Use your ears not your eyes. As for not sounding like the original raw track, who cares but hear it with the other instruments too, not just soloed. A guitar that sounds great irl might not sound great recorded or great live in a band when not being filtered by the brain’s visual cortex or not having to cut through the stage noise. A Gibson might sound better irl but a Fender better on the record. So many resonant wood guitars now are totally destroyed on records when another guitar would’ve been better in the first place or the rest of the sound should’ve been tailored around it if it was the primary voice.

PS, sometimes just a compressor or soft limiter catching the muddying resonance can be awesome. Multibands rule at this when nothing else works. Great weapon of last resort when not even an 1176 or a limiter are working.

For midrange resonances that aren’t muddying, often they might look awful or sound bad on their own soloed but cause the guitars to cut through a dense mix. Think many acoustics and strats. Mercyful Fate - Don’t Break the Oath has the strats cut through the speaker. Modern mixers with smart ai resonance killing eqs or mixing based on seeing  wave forms would never get that effect.

Yeah, a little ugly goes a long way when it comes to making music sound good. I believe that firmly.

I always need to back off the mic recording my dreadnoughts no matter which woods that they are made of. The guitar that doesn't sound particularly good and isn't as much fun to play as the others but sounds really nice parked in front of a microphone is my jumbo spruce topped and maple bodied 1980 Ibanez J-540 NT. Even though there's lots of air volume in that big boned gal, the maple seems to temper the bottom end and the guitar captures wonderfully.

Though they’re not particularly en vogue these days, this was one of the things I initially loved about Taylors back in the 90s. Brighter, less boomy than a Martin or Gibson. Seemed to get out of the way a bit more in a full production. Though a bit less complexity of character in a more minimal production.