What kind of guitar are you using? Are you running it through any pedals? What kind of amp are you using? Is it solid-state? A tube amp, perchance?
All of that aside, almost any microphone can fulfill the role you’re wanting to use it for. However, not all microphones have been created equally, as some of them are more consistently reliable than others and require less work and touch up in post production.
If you want to get the most out of your guitar tone, obviously the bulk of the work lies in getting as close to the tone you want before you start running it through a microphone. Once that’s all squared away, as long as you have a fairly neutral-sounding mic, you should be ready to go.
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Some microphones may be a bit more colorful than others, which can obviously be used either to your detriment or benefit. You’ll have to use your discretion in this regard, but if the mic you’re using has more high-end than what you’re aiming for, you can either use a different mic or EQ it down in post.
Anyway, we’re starting to get too pedantic. The microphones listed here are in no particular order, but they’re all your greatest bets when it comes to finding the best microphone to record your electric guitars with.
Starting right off the bat, we have the Shure SM57. This is one of the most iconic microphones, and for good reason. Almost every studio will have a handful of these on deck, due to them being inexpensive, nearly indestructible, and incredibly reliable.
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Aside from them being useful in practically any audio engineering situation, they’re particularly good when it comes to recording guitar cabinets. Why? Well, the SM57 can theoretically handle a maximum SPL level of 190 dB – which is pretty loud.
Ultimately, the SM57’s sound signature is unassuming, in part to its neutrality but also largely due to how often its been used in large scale recording projects.
If you’re at all familiar with microphones, you’ve probably heard people go on about how great of a microphone the Neumann U 87 Ai is.
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If you can get your hands on an original U 87 (maybe because you have some ten thousand dollars burning a hole in your jeans), these things are monsters in the studio.
The newer models, the U 87 Ai, are just as good although they might lack the depth and warmth that the OG’s have to offer.
Either way, the U 87 Ai is a truly phenomenal microphone. Whether you’re trying to record a guitar cabinet or anything else, the microphone offers a neutral and flat frequency response that can get up close and personal with whatever you’re trying to capture.
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The M80-SH is a dynamic microphone with a supercardioid polar pattern and a frequency response of 50 Hz – 18 kHz. The SH models are particularly apt to handle tight-fit applications where a full-sized microphone might be too overbearing.
While the M80-SH is technically a dynamic microphone, it performs much more like a condenser. It also has a high SPL, making it more than capable of capturing the full range and sound of whatever source you’re applying it to.
When it comes to guitar amps, we’ve found that the M80-SH is especially great for dirtier sounds, although it does perfectly well on cleaner tones.
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The U 47 is capable of making things sound bigger than life, which can be extremely useful when you want your electric guitars to rip through the mix.
All this being said, they don’t run for cheap. So if you’re on a tight budget, this might be one of the more impractical suggestions you could receive. However, if money isn’t an obstacle, the U 47 is a classic microphone that performs exceptionally well.
One downside, for the sake of not being overly positive, is that it is an extremely colorful microphone. Which when used on multiple sources in one mix, can either help things gel together, or can conversely make your tracks fight for a place in your mix.
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The M160 is a ribbon microphone with a hypercardioid polar pattern and a frequency response of 40 Hz – 20 kHz. It offers a warm and buttery sound, which can be phenomenal when used in the right context.
It can be especially great for quieter, clean guitar tones. Largely due to its double ribbon design, which boosts its output levels while also creating less self-noise.
If you’re looking for a warm, buttery, silky, and smooth sound out of your electric guitar, the M160 might be one of the best microphones for you.
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This list is just the tip of the iceberg when it comes to recording electric guitars. There are many, many more options available to you.
Some people may swear on that ten thousand dollar microphone, but you can always get usable results out of a cheap second hand microphone from a guitar shop.
You’re just as likely to get amazing results out of a tried and true workhorse as you are an unknown janky microphone. It’s all about how you use it and in what context you’re applying it in.
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In any case, the best choice is going to be whatever suits your budget and personal stylistic preferences. Just trust your gut and go with the microphone that is most appealing to you. As long as you’re read up on proper mic placement, you’ll be just fine.Electric guitars are one of the cornerstones of modern music, but miking them up can prove tricky. We round up some top tips from professional engineers.
Miking up guitars at live shows can simultaneously be both one of the simplest and most difficult jobs for a sound engineer. It is very much part of our 'bread and butter', as the electric guitar is synonymous with modern music — most engineers I know grew up working with guitar bands. In its simplest form, a guitar‑based show would involve throwing up some mics on the drums, a DI on the bass and a mic on the guitar. However, as shows become more sophisticated and in‑ear monitoring more prevalent, the guitar has come under much greater scrutiny.
Traditionally, guitar (and bass) amplifiers had a single, stand‑alone role: to make the guitar loud. In the early '80s, Mesa Boogie actually introduced a range of amps called the Coliseum, designed for the largest touring acts of the time — the Who, the Rolling Stones and Santana. With this amplifier and its massive 200W output, your guitar could fill a whole large auditorium without help. This was still at the turning point where mixers were really just amplifying the vocals and the drums using a minimum of microphones. These days, even the most modest club has a mixer capable of miking up quite large bands easily, and a microphone on the guitar amp is the norm. This has led to smaller amps being used on stage, for several reasons.
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Anyone who has owned a Marshall 4x12 cab will know what a great sound it makes; a full stack, better still. Anyone who has ever had to transport one themselves knows how heavy they are, and how much room they take up in the hallway. In the last 10 years or more there has been a return to smaller, more flexible combos, some of which would not look out of place in your living room. This trend towards using smaller guitar amps has done a lot to reduce the level of the guitar on stage, and improve spill on the vocal mics at the same time. It has also meant that reliance on the engineer to capture the guitar sound has increased. In this article I want to talk about some of the techniques that engineers are using to help capture the electric guitar live.
Sticking a dynamic microphone in front of the guitar speaker is still the go‑to technique used by most engineers, and it is also the simplest approach. The choice of a dynamic microphone is easy and practical: dynamics will be able to handle the sound pressure levels of the speaker; they will have the warmth and body needed while not sounding unduly harsh. They are always my first choice. As to the model of microphone, Shure have always had the historical upper hand with their SM57, which remains a very popular choice. Another popular choice at the moment is the Sennheiser E906. This square, side‑address dynamic microphone has its roots in the MD409, which was originally released in the '60s and can be spotted in use as a vocal microphone by such acts as Pink Floyd in the late '60s and early '70s. When Sennheiser released the cheaper, more robust E906 in the '90s, it began to catch on as a guitar mic. All of a sudden you didn't need a mic stand — you could just wrap the cable through the amp handle and dangle the mic in front of the speaker. No more worries that the stand would get knocked out of place, and with a bit of gaffa on the cable it would sit in position all night. This practicality still dictates microphone choice for many engineers, since having a consistent, easy answer to a problem will usually outweigh any other requirements.
The simplest and most common
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