The World’s Best Mic for Recording Guitar

Getting a clean, warm and detailed guitar sound is every guitarist’s dream, but do you need expensive specialist mics?
Best Mic for recording guitar - abstract collage illustration

Author: Paul Narang
Last updated: January 2025


I’m often asked which microphone I’d recommend for recording both acoustic guitar and electric guitar cabs. With the exception of three mics on this list, I normally suggest very different mics for each job. That’s because acoustic guitar and electric guitar are on the opposite spectrum of sonic characteristics.

An acoustic guitar delivers a relatively quiet sound. So you’ll need a condenser mic, which is naturally very sensitive, enabling it to pick up nuance and detail across the whole frequency range.

Whereas a guitar cab is capable of delivering an extremely loud sound. Here, you are generally better off with a mic with a high SPL, meaning it can withstand high-volume signals. This is where dynamic mics really shine.

What do you need in a guitar mic?

Before you invest in a guitar mic for your recording studio, ask yourself:

  • Will you also be recording other instruments with the same mic? 
  • If so you can choose a mic which can also deliver good sound on several instruments
  • What sort of guitar do you have?
  • Depending on your answer, you can choose a mic with characteristics which balance out your guitars weaknesses
  • How quiet is your studio environment? Is it well soundproofed?
  • Some mics are better than others at rejecting background room noise

Recording guitar in mono or stereo

It’s no secret that recording guitar in stereo will deliver the fullest sound, and it’s especially advisable if you’re making solo guitar recordings, or if the guitar will feature prominently in the mix.

Having said that, you can still get a very good sound with just one microphone, so you might decide to buy just a single high quality mic, knowing that you can get another one when budget allows.


Best mic for recording guitar:
Rode NT5 pair

Rode NT5 pair

These “pencil mics” have a crystal clear and detailed sound making them perfect for acoustic guitar. Use them as a pair for a wide soundstage or on their own for a variety of other instruments.

At this price, and with a 10 year warranty, the Rode NT5s are the clear winners.


Special mention guitar mic:
Neumann KM 184

Neumann KM 184

The Neumann KM 184 has a beautiful silky bright sound, ideal for making the highest quality recordings

An industry standard small diaphragm condenser mic, the KM184 also excels at recording other instruments


Top picks for the best guitar microphones

In this round up:

  1. Rode NT5 pair – Overall best mic pair for recording guitar
  2. Neumann KM 184 – Special mention recording guitar mic
  3. AKG C414 XLS – Premium choice for recording acoustic guitars
  4. Shure SM 81 – Best budget premium guitar mic
  5. Shure SM57 – Best budget mic for recording guitar
  6. Neumann U87 – Best super premium mic for acoustic guitar
  7. AKG C451 B – Best classic mic for recording guitar

1. Rode NT5 Pair

Premium sound at an affordable price
Rode NT5 pair, small diaphragm guitar mics
© Rode

At a glance:

Mic typeSmall diaphragm condenser mic
Frequency range20Hz to 20kHz
Polar patternCardioid

The pros:
Solid build and sound quality
Exceptional value for a matched pair
Extremely versatile mic

The cons:
No bells or whistles

What is it?

The Rode NT5 is a small diaphragm condenser mic with a warm, crisp and detailed sound. It’s outstanding on acoustic guitar, particularly as a matched pair. It’s also an incredibly versatile mic, sounding great with choirs, drum kits, hi-hats, and cymbals.

Features

Since its inception in 2002, the Australian-made NT5 has become a favourite for recording acoustic guitar. With a bright open sound, a pair of NT5s deliver sparkling, clear recordings, not just on guitar but also with a whole range of plucked string instruments such as the banjo, mandolin and harp.

I tested a pair of NT5s with two guitars – a parlour steel string guitar, and an ageing nylon string classical guitar, which I’ve had since my days at music college. I can confirm that the NT5s performed admirably on both instruments.

Strumming the steel string resulted in a crisp and tight recording with plenty of high end grit, ideal for cutting through mixes. Fingerpicking styles also worked very well – clarity, openness and balance being the stand-out features.

While recording the nylon-stringed classical guitar, I had both mics a couple of feet away from the instrument. Again the detail was outstanding, and the natural brightness of the mic worked wonders for the slightly dull strings. Some sections of the recording were very quiet, and I found the NT5s to be capable of reproducing remarkable subtlety and nuance, some of which I wasn’t aware of when listening to the guitar being recorded.

A pair of NT5s are also a good choice for guitarist/singers. You can experiment with mic positioning to get the type of sound you need – I favoured placing both mics a couple of feet away in an XY configuration, but you can experiment with closer miking depending on the sound you’re after.

On paper, the Rode NT5s generate a “medium” amount of self-noise, but I didn’t encounter any noise problems during the quiet recordings. The sound was already balanced and only needed a touch of EQ to suit my taste.

The tight cardioid polar pattern helps to remove the sound of the room, making it ideal for home studios without professional acoustic treatment.

Rode NT5 Frequency response

The Rode NT5 has a frequency response of 20Hz – 20kHz, spanning the full range of human hearing. It has a largely flat response with a bass attenuation of 4dB beginning around 200 Hz and flatlining at 100 Hz. This ensures there’s no muddiness on your guitar recordings, and is also very handy when using it as an overhead for drum kits, as it minimises the kick.

There’s also a subtle 2 dB boost between around 5 kHz and 15 kHz, which gives the NT5 its characteristic sparkle, making it so good for capturing the higher guitar frequencies with crisp detail. They’re also great for retaining the top end in naturally bright sounds such as cymbals, hi-hats or steel string guitars while adding extra sparkle to a dull piano or guitar with worn-out strings.

Rode NT5 frequency response

You can boost the bass by bringing the microphones closer to your guitar and making use of the “proximity effect”, which adds more bass the closer you get to the sound source.

Verdict

With exceptional build quality and a clear, accurate and detailed sound, a pair of NT5s will provide that sparkling clarity that every guitar player needs. But they also serve as much more than mics for your acoustic guitar – even just one mic is a versatile studio workhorse.

I can’t think of any other small diaphragm condenser “pencil mic” that comes close to the quality of the Rode NT5 for the price – they’re fantastic value for money, and come with an industry-leading 10-year warranty.

Read the Rodes NT5 review here


2. Neumann KM 184

The miniature mic with an impressively large sound

At a glance:

Type of micSmall diaphragm condenser mic
Frequency range20Hz – 20kHz
Polar patternCardioid

The pros:
Incredible sound
Minimal off axis colouration
Versatile across a range of instruments

The cons:
Not cheap

What is it?

Found in pro studios around the world, the Neumann KM 184 is many top engineers’ first choice for recording guitar, either as a stereo pair or single mic.  The KM 184 offers a beautifully detailed, smooth and accurate sound guaranteed to give your recordings an edge.

The KM 184 also excels at recording a large variety of other instruments, including percussion, drum overheads, and small and large ensembles.

Features

Over the years, the KM 184 has earned a reputation is an excellent choice for recording acoustic guitar. It captures a great deal of detail and nuance, ideal for finger-picking styles, and the nylon strings of classical guitars. The bright sound also works particularly well on strummed steel strings, especially if you’re looking for something to cut through the mix.

I’m already used to recording guitar with one KM 184, which sounds stunning, and ideal for use in layered mono recordings. If you’re familiar with the Neumann U87, you’ll recognise that uncoloured sound which also manages to incorporate a smoothness reminiscent of classic 60s and 70s recordings.

But there’s many other ways you can use this handmade German microphone.  Doing this review gave me the chance to try a matched pair, which provided a beautifully wide sonic sound stage, with the sparkling guitar seemingly suspended in the air.

I also like to pair it with a side address condenser when I need a greater depth of tone.  One of my favourite combinations is pairing the 184 with a Rode NT1 to record my small Taylor acoustic guitar. A position I’ve found to consistently work for me is the KM 184 over the sound hole and the NT1 over the bridge.

As well as acoustic guitar, the KM 184 is great for capturing a huge range of other acoustic instruments.  It’s well suited to piano (either alone or in a pair), strings, woodwinds, brass and small percussion.  It’s also a popular choice for drum overheads, capturing that sparkly top-end on cymbals, and those gestural details on rims and toms. 

But as well as the sound quality, I really value the KM 184 for its consistency. The 184 is reliable in 99% of situations. Whatever instrument I’m recording, I know I’m going to get a clear authentic tone. This extends to its off-axis response – it seems to have a very similar tone to on-axis sound.

Neumann KM184 Frequency response

Listening to the Neumann KM 184s are a joy – they’re a study in crystal clear, accurate and authentic sound. As you’d expect, the frequency range stretches from 20Hz – 20kHz, the full range of human hearing.

The midrange of the microphone’s frequency chart is flat, but there’s a presence boost starting at 4 kHz, and peaking +2dB around 8 kHz, before gently rolling back. This is what gives the KM 184 it’s special character – open and natural brightness and shimmer. The low end has a natural sounding roll off from around 400 kHz.

Neumann KM 184 Frequency response
Neumann KM 184 Frequency response

There are no sharp peaks or troughs in the KM 184’s frequency chart. The presence boost sits just where you’d want it for a gently flattering sound, which never sounds too extreme. This small boost sets it apart from its predecessor the KM 84, along with the slightly steeper low-cut at the bottom end.

Verdict

Since its inception in the 80s, the Neumann KM 184 has earned its reputation as an industry standard mic, and one of the most widely used acoustic guitar mics today. 

It’s reliable and versatile, and offers a clear and smooth sound on most sources – full, sparkling acoustic guitars, bright and shimmering cymbals, warm and rich string quartets or full and dynamic orchestral recordings.  Used alone or as part of a pair, the KM184 should be in the locker of any serious recording engineer.

Read the full Neumann KM 184 review here


3. AKG C414 XLS

Stunning detail and warmth with incredible versatility
AKG C414 XLS large diaphragm guitar mic
© AKG

At a glance:

Type of micLarge diaphragm condenser instrumental mic
Frequency range20Hz-20kHz
Polar pattern9 polar patterns, including:
Omnidirectional
Wide Cardioid
Cardioid
Hypercardioid
Figure of Eight

The pros:
Stunning sound quality
Nine polar patterns
Excellent build quality
Multiple sensitivity and low-end roll off switches
Ideal for virtually all acoustic instruments
Suitable for recording guitar cabs with detail

The cons:
Plastic shock mount

What is it?

The AKG C414 XLS is an industry standard large diaphragm condenser mic, renowned for its neutral sound and outstanding flexibility. Most professional recording studios have a few C414 XLSs, as they can capture quality sound from a huge range of sources.

Features

The AKG C414 XLS is considered a classic for recording the guitar. Using just one mic, I find the sound to be balanced, and detailed with a clarity that I don’t normally hear when recording acoustic guitars, both classical nylon and steel string acoustics. It has depth without being overly bassy, and the high end shimmers, creating a rich unified whole.

With the large diaphragm and characterful capsule based on the warm and expressive 1953 C12 microphone, it also fits into mixes well. Because the sound already has a solidity to it, it takes EQ well, and can be made to work in a lot of music styles.

Most of the microphones in this roundup have a fixed cardioid pattern. However the AKG C414 XLS allows you to switch between a staggering 9 polar patterns – Omnidirectional, Wide Cardioid, Cardioid, Hypercardioid and Figure of Eight, as well as settings in between each of these. 

This capability offers an unrivalled versatility in the recording studio. Not just for capturing the perfect guitar, but for recording a whole array of instruments.

The C414 XLS also offers two other switchable features:

  • 3 low cut filters at 40Hz, 80Hz and 160Hz
  • 3 pre-attenuation pads of -6db, -12db and -18db

If you like to play guitar and sing at the same time, you can try recording in the bidirectional polar pattern, where one side will capture your voice, and the other side will record the guitar from above.

The AKG C414 also sounds fantastic on electric guitar, and is well suited to the volume with a max SPL of 158 dB. Placed in front of a guitar amp, I find I can achieve a full sound with a natural sounding low end, and crunchy detailed top end.

It’s a world away from the standard dynamic mic in front of the cab, as you can capture the full frequency range, including the detailed highs that only a condenser mic can capture. It’s not an in your face, aggressive sound – the C414 will always be more of a tool for refined sound.

The XLS has a clear upper end presence, but with an unmistakable warmth and depth to balance it out. The sound has a very smooth top end, which makes it a great choice for anyone working in a mainly digital environment. It adds character and fullness without introducing colouration.

The AKG C414 XLS isn’t just stunning on guitar. Any sort of percussion instrument sounds good on the C414, including drums – as overheads, on a snare, or many other places within the kit. Remember how high the SPL is on the C414 – it an easily handle a kick drum. It tends to warm the drums up, and doesn’t add any brittleness.

The same goes for other instrument with naturally bright characters – violins, violas, cellos, double bass, flutes, woodwinds and horns. The C414 XLS is ‘big’ enough to handle them with ease – you’ll hear them as you heard them with your ears, yet they’ll have a subtle and effortless warmth and rounded top end.

AKG C414 XLS Frequency range

The XLS has a reasonably flat frequency response throughout the spectrum, with a little dip between 1 and 2kHz, and a gentle peak starting at around 10 kHz. The low and mid range is warm and rich, with a distinct clarity, definition and presence in the high end

The frequency charts below also show how the low-end frequency roll off switches affect the sound. Notice that the 40 Hz, and 80 Hz roll offs are much steeper than the gradual 160 Hz roll off.

AKG C414 XLS frequency response in the cardioid position

Although the character of the C414 remains very consistent regardless of which polar pattern you select, there are some small variations in the sound.

Verdict

For me, the AKG C414 XLS is an outstanding workhorse to have in the studio, easy to use, and virtually guaranteeing a technical and musical recording not only for guitar, but a full range of other instruments.

With the selectable polar patterns and EQ shelving options, its possible to experiment to the nth degree on getting your guitar sound just the way you like it. If you can only get one mic for your studio, I would suggest this is the one to have – it sounds good on just about everything!

Read the full AKG C414 XKLS here


4. Shure SM 81

Superb accuracy and flexibility in a classic mic
Shure Sm81 small diaphragm guitar mic
© Shure

At a glance:

Type of micSmall diaphragm electret condenser microphone
Frequency range20Hz to 20kHz
Polar patternCardioid

The pros:
Neutral and natural sound
3 High pass filters and attenuator
Suitable for most instruments
Sounds great on guitar cabs

The cons:
Lower output than some other mics

What is it?

The Shure SM81 is a small diaphragm, electret condenser microphone with a cardioid pick up pattern. It’s been an industry standard for recording guitars in mono or as a pair, for over 50 years.

Features

Although the Shure SM81 is often used as a pair for recording acoustic guitar, I tested just a single mic. A pair would have given an even bigger sound, with a wider stereo image.

Like you’d expect from a Shure mic, it’s well built, with a rugged metal casing, and when I pressed the grille there was no give at all. It’s clearly designed to withstand the rigours of live use as well as more gentle studio use.

The SM81 has a natural and detailed sound, and unlike some of the other pencil mics, has a full sound with a well-rounded bass end, and pronounced proximity effect. With a very flat frequency response, it’s what I’d describe as an “unflattering” mic, faithfully reproducing the guitar in an honest and natural manner. It was full sounding, from the lowest to the highest frequencies, and really reflected what I could hear in the room.

The Shure SM81 offers some versatility in the studio, with two bass roll-off options and a 10dB attenuation switch. Using a typical guitar miking technique, with the SM81 positioned around a foot away, pointing towards the 12th fret, I found the sound a little too bass heavy for my taste, due to the proximity effect. But this was remedied instantly by engaging the first -6dB bass roll off switch, leaving me with a superbly balanced sound.

I found moving the mic around the guitar had a huge impact on both the sound and bass response. The higher up the fretboard, the less bass, and the closer to the sound hole, the more the lower frequencies were accentuated. You can also position the SM81 to the left of the sound hole, above the bridge, for a medium bass, almost nasally sound which I quite liked.

Because of all the sound shaping features built into the mic, it’s nice to be able to experiment with mic placement and really find out what suits your taste. You’ll generally engage the bass roll off switches when you need to get a denser sound nearer the sound hole. There’s probably more sonic options than you imagine with the Shure SM81, and they all sound valid and natural in their own way. The recordings had fantastically tight definition, with a natural, well rounded low end.

I used the SM81 in 2 rooms, one treated, and one untreated – they were both small to medium sized. I found that with acoustic guitar, placed around 9″ from the body, it sounded very clean and tight in the treated room and slightly echoey, but still natural sounding in the untreated room. Both scenarios produced different results, equally as good in my opinion.

Although the Shure SM81 is many pro engineer’s standard choice for any acoustic guitar, I’d particularly recommend it for a bright or thin sounding models, or a small parlour guitar, as the fullness will naturally compliment the sound. The same goes for recording a classical guitar with nylon strings – the SM81 will make sure you’re capturing the complete sound.

You can start with acquiring a single SM81, adding another at a later date to experiment with wider sounding stereo recordings. Or you can pair it up with a large diaphragm condenser over the sound hole, and the SM81 higher up along the fretboard to capture some of the detail.

I also tried recording electric guitar with the SM81 placed in front of a cab. I can only describe the sound as very clean and contained sounding. Not the most exciting sound, but good to know its available if you’re looking for something less aggressive than the norm.

The SM81 sits in the lower end of sensitivity ratings when compared to similar mics in this roundup. For instance it’s much lower than the more expensive KM 184s which are around -36 dBv, though just slightly lower than the AKG C451B which is around -41 dBv. But compared to the Shure SM57, a dynamic mic, it’s considerably more sensitive.

The Shure SM81 is also a studio workhorse mic with a strong reputation for recording pianos, hi hats and cymbals. It’s also very popular for drum and choir overheads, and for recording bowed strings, woodwinds, vocals and voiceovers.

Shure SM81 Frequency range

From 20 Hz to 20 kHz, the SM81 has an extremely flat and wide frequency response especially above 5 kHz. This is what makes it a popular choice for recording a variety of instruments where accuracy is paramount. What you hear while you’re recording is what you’ll capture from the mic.

There’s no spike in the treble found in other small diaphragm condensers, just an unnoticeable drop of around 1 dB below 5kHz. This produces some very smooth, un-hyped upper frequencies, perfect for the zing of a cymbal or sparkle of an acoustic guitar.

Shure SM81 frequency chart

The frequency response of the SM81s so consistent that Shure does not issue them in matched pairs, as they are already so closely matched.

Verdict

The Shure SM81 is an industry standard pencil mic, capable of capturing every detail and nuance of your guitar. Known for it’s “accuracy over flattery”, the Shure SM81 has full and neutral sound, and is equally adept with a huge variety of instruments, from hi hats, to vocals, to pipe organs.

Read the full Shure SM81 review here


5. Shure SM57

Possibly the most versatile mic in the world with an astonishing price tag
Shure SM57 dynamic cardioid guitar mic
© Shure

At a glance:

Type of micDynamic microphone
Frequency range40Hz to 15kHz
Polar patternCardioid

The pros:
Excellent noise rejection
Extremely versatile
Great value
Picks up less of the room sound
Fantastic for recording guitar cabs

The cons:
Less high frequencies than condenser mics
Lower sensitivity than condenser mics

What is it?

The Shure SM57 is a legendary dynamic microphone, a staple of studios and live shows around the globe.  It’s known for a combination of smooth, reliable sound and near-indestructible build quality.

A super versatile mic, the SM57 not only performs well on guitar, but is also very popular for drums, guitar amps, spoken-word and more.  Its also great value, retailing for less than $120.

Features

The SM57 is particularly suited to recording acoustic guitar parts which are louder or more aggressive. It can really accentuate the “attack” and give a rhythm guitar a percussive quality. Unlike the other mics in this roundup, its a dynamic mic, which means there’s no need for phantom power – you can just plug and play.

Like most dynamic microphones, it has a cardioid polar pattern, and compared to a condenser, picks up less of a poor sounding room, street sounds, or distant traffic rumble. It’s also the ideal choice for recording spaces without acoustic treatment.

The Shure SM57 has a unique dark tone, and is often used to tame shrill sounding instruments, or to add darkness and grit to overly bright vocals. So maybe not the best choice if you have a really dark or muddy sounding guitar – better to use a mic which brightens the sound.

I’ve used the SM57 with success on my smaller than average parlour guitar which lacks the bass of bigger models and sounds quite bright. It’s a good fit, with the SM57 adding a subtle bass boost while rolling off the top end, for a satisfyingly warm tone.

When recording in stereo, I find the Rode NT1-A (review here) to be a good partner to the Shure SM57. The NT1 is a large diaphragm condenser mic which compliments the darker tones of the SM57 with its brightness and clarity.

Try placing the Rode near the bridge, with the 57 roughly level with the 12th fret, pointing towards the sound-hole. The NT1 provides the detail and sparkle, whilst the SM57 adds the warmth, depth and body. 

One area where the Shure SM57 excells is in recording electric guitar cabinets – the high SPL of the 57 (low sensitivity) means you can crank the cab to eleven without ever worrying about overloading the mic.  And the flat grille means you can place this dynamic microphone up close for a really beefy tone. The smooth high frequency roll-off of means it won’t sound too harsh on the distorted guitar.

Shure SM57 Frequency response

The Shure SM57 has a frequency response of 40 Hz to 15 kHz. There’s a slight peak in the bass around 200 Hz – handy for recording guitar cabinets, toms or spoken word.  Below 40 Hz the frequency continues to drop away, keeping your recording free of low frequnecy rumble.

There’s a small dip between around 300 to 600Hz which helps reduce muddiness in the low mids.  Above this the response remains fairly flat, until a presence boost from around 3kHz up to 6kHz.  This is what makes the SM57 great for capturing the ‘snap’ of a snare, or the ‘twang’ of a guitar.  From around 9kHz upwards the response slowly falls away, with very little sensitivity above 15kHz.

Shure SM57 Frequency response chart
Shure SM57 Frequency response

Inevitably, the top-end of the SM57 isn’t as bright as many studio condenser mics. By comparison, most of the other mics in this list, which are condensers, extend all the way up to 20kHz.  But the reduced top-end does have its advantages – you’ll pick up less room ambience and subdue the shrill highs of a harsh instrument.

Verdict

While the Shure SM57 is never going to be as sparkly and bright as a studio condenser mic, it does have a consistent, smooth tone. There’s plenty of body, and just enough top-end to be useful in a wide range of recording scenarios. It’s also incredibly versatile – the SM57’s rich and warm tone adapts well to a huge variety of different instruments in and out of the studio.

The SM57 is extremely durable, great at noise rejection, and able to handle even the loudest sounds. As well as this incredible versatility, it is unexpectedly affordable, making it a great starter mic for beginners, and an essential studio tool for the pros.

Read the full Shure SM57 review here


6. Neumann U87

The ultimate microphone for guitar (and vocals) when only the best will do

At a glance:

Type of micStudio condensor microphone
Frequency range20hz – 20kHz
Polar patternCardioid

The pros:
Incredible, classy sound
Extremely high build quality
Switchable Polar Patterns

The cons:
Very expensive
Accessories are expensive
Picks up ambient and background noise

What is it?

Known for it’s clear, detailed balanced tone and excellent build quality, the Neumann U87 is one of the most highly regarded microphones in the world.  Earning a solid reputation over the last five decades, it features on countless classic recordings from the Beatles to the Berlin Philharmonic Orchestra. 

Features

The Neumann U87 is world renowned for its classy, silky sound, with a reputation as one of the best sounding studio microphones available. Each microphone is hand built in Germany, and the build quality is nothing short of outstanding.

The U87 has a very smooth and even sound that seems to suit almost any instrument you put in front of it, including the acoustic guitar. The lows and mids are perfectly balanced – always present and controlled controlled, never muddy. 

The Neumann U87 is a side-address solid state condenser microphone with switchable polar patterns. You can choose between cardioid, omni-directional and figure-of-eight polar patterns at the flick of a switch. This makes the U87 indispensable for a variety of recording needs in the studio, from lead vocals to all types of acoustic instruments.

The Neumann U87 is a popular choice for recording acoustic guitar (if the studio can afford one), and in my testing, it sounded nothing less than beautiful. On a small mahogany guitar, the sound was bright and shimmery, with high-end detail, and plenty of body in the mids and lows. Paired with a Shure SM57, I made some really lovely recordings, with a rich and vivid stereo image.

You can also use the U87 to mic up guitar-cabs and amplifiers and even bass amps.  This will work for clean or slightly overdriven sounds, perhaps a Fender Twin Reverb, but probably not the best choice for heavily distorted guitar.  You’re unlikely to overload the mic unless you really crank the volume, but its just not something I’d want to risk!

Neumann U87 Frequency range

The Neumann U87 AI has a wide frequency range of 20Hz – 20kHz.  Looking at the charts, it’s striking how smooth and flat the frequency response is before a gentle lift in the high end.  

The flat midrange results in a smooth and even sound, and the presence boost is just enough to bring out the clarity and detail of musical instruments and voices, without ever becoming too harsh. 

With the low cut engaged, the response falls away very gently from 800Hz. I often find the low cut curve on other microphones to be too steep for practical use, but the gentle curve on the U87 stops the microphone from sounding unnatural or hollow at the bottom end. 

The on-axis frequency response is also impressively consistent across all three polar patterns with less variation than you’d normally expect from a multi pattern mic.

Neumann U87 frequency response in cardioid position
Neumann U87 frequency response (cardioid position)

The Cardioid pattern is similar to the omnidirectional setting in the midrange but with slight differences at the top and bottom.  Like the omni mode, the low-end on the cardioid setting begins to fall from 70Hz, but it has a steeper curve leading to an 8dB drop at the bottom of the frequency chart.

With the low cut engaged, the response drops from 800Hz down to just below 50Hz.  Above 5kHz there’s a presence boost between 5Hz up to 9kHz – the same as in omni mode, but far less pronounced, only climbing up 2db before gently rolling away.

Verdict

Over the last 50 years, the Neumann U87 has earned its place in recording history, and it’s not hard to see why.  It has an impeccable hand-crafted build, clear, even sound with tons of detail, and the added versatility of 3 different polar patterns.  

If you’re one of those people who needs your guitar to sound the very best it can, you’re simply going to have to save up for a U87. You won’t be disappointed.

Read the full Neumann U87 review here


7. AKG C451 B

The bright open mic with the silkiest highs
AKG C451B small diaphragm guitar mic
© AKG

At a glance:

Type of micSmall diaphragm condenser mic
Frequency range20Hz to 20kHz
Polar patternCardioid

The pros:
Bright sound with silky top end
Extremely versatile
Compact and durable
2 attenuation pads
Low cut filters

The cons:
Prone to plosives on vocals

What is it?

The AKG C451B is a small-diaphragm condenser mic that delivers a balanced and detailed sound. Its bright yet silky presence makes it an excellent choice for capturing the nuances of acoustic guitars, drums, stringed instruments, pianos and more.

Features

The cardioid C451B pencil mic is AKG’s most popular small-diaphragm condenser, an extremely popular staple in both professional recording studios and live settings. It has a recognisable look, with a smooth satin nickel finish and two bright orange switches along the body.

Inside the mic is AKG’s CK1’s electret cardioid capsule, paired with a transformerless preamp circuit, which offers a clean transient response. The two switchable filters providing attenuation and high-pass options are both indented, so there’s no possibility of accidentally changing the settings while setting up, or playing live.

When recording acoustic guitar, I found the C 451B to have a slightly scooped sound, though still finely balanced . Although they’re often used as pairs on a guitar, my test of just one mic revealed its capability of achieving a 3 dimensional hyper realistic reproduction – silky smooth sparkling highs, balanced with full low-mids.

I placed the C451 B 6 inches away from the guitar body, aimed at the 14th fret. I angled it slightly towards the guitar body to capture the lows and more resonance.

The 2-3dB gentle presence boost in the top end provided an airy sound, drawing out detail, articulation and attack without being harsh or brittle. Yet when listening back, it simply sounds uncoloured and unprocessed – very much like I heard it with my own ears.

I’d describe the sound of the AKG C451 B as being open and accurate, bright yet smooth. It excels in producing clarity and detail within the fine textures and resonant overtones.

As well as guitar, the C451B is suited to a variety of instruments: drums and guitars, as well as the less obvious – pianos, violins, violas, cellos and vocals. In fact these mics have a long association with voice overs and singers – Madonna and Joni Mitchell are among the prominent singers who recorded with the older (but very similar sounding) C451s.

The cardioid polar pattern of the C451 B did a good job of rejecting sound from the sides of the microphone. It was also very good at rejecting sounds from the rear, which might be helpful for you if your recording environment is compromised.

AKG C451B Frequency range

The C451 B has a full frequency range of 20Hz – 20kHz, typical for a quality small-diaphragm condenser mic. First of all, the C 451 B is an unashamedly bright mic, but that doesn’t mean harsh, or clinical sounding.

AKG C451B frequency chart

Looking at the frequency chart, there’s a gentle 2-3dB lift starting at 5kHz which gives the C451 B its characteristic silky, detailed and open top end. This is what makes it so popular for acoustic guitars, classical guitar, other plucked or bowed strings, and drums. Apart from that it has a reasonably flat, balanced response through the midrange frequencies.

Without any high pass filters engaged, the bass rolls off smoothly below 100Hz to minimise an exaggerated proximity effect and low frequency rumble. I did try speaking very close to the mic, and there was a clear increase in the bass, but it sounded very natural.

Verdict

The AKG C451B is an outstanding small-diaphragm condenser microphone that I found impressive on many levels. It’s a fantastic all rounder, but really excels in producing high quality guitar recordings where you need a sparklingly bright and beautiful and sound.

Read the full AKG C451B Review here

Best mic for recording guitar – Buyers Guide

In this guitar mic roundup I’ve explored the pros and cons of what I consider the best mics for recording acoustic guitar in the studio.  But there’s other things to consider too when deciding which mic is the best fit for you.

Dynamic vs Condenser Vocal Mics

These two different types of microphones each have a unique internal circuitry, and offer their own strengths and weaknesses.  Condenser microphones tend to dominate when recording acoustic guitar, due to their heightened sensitivity and ability to pick up fine detail. 

The delicate mechanism inside a condenser is more sensitive to quiet sounds, high frequencies and fine detail.  In the right setting, this is perfect for capturing the subtle nuances of even the most intimate guitar performances.  

Most recording studios are controlled spaces with a fair degree of sound isolation.  This creates a quiet, non-reverberant recording environment – perfect for the condenser microphone. However the drawback to this sensitivity is that condenser mics are sensitive to background noise, and prone to feedback.  That’s why dynamic microphones are generally preferred for live use. 

But if you don’t have an acoustically treated, quiet recording environment, a dynamic vocal mic can be quite an asset. It picks up only what’s in front of it, leaving out the sounds of the room or the distant rumble of traffic.  

That’s why the Shure SM57, a dynamic microphone, has become popular with not only acoustic guitarists, but also for recording electric guitars, guitar cabs, vocals and drums. It is in fact one of my favourite mics for recording guitar cabs.

Something else to bear in mind is that a condenser microphones need phantom power, whereas the simpler dynamic mic, doesn’t require any power or batteries.

Guitar Mics – Which polar pattern do I need?

All microphones vary in their directionality.  At one end of the spectrum, omnidirectional microphones are pick up sound from 360 degrees around the head of the microphone.  At the other end, some microphones are extremely directional, only picking up what is directly in front of them (super cardioid or hyper cardioid).  

Most engineers record guitars with microphones that have a cardioid polar pattern, like the Rode NT5 and the Neumann KM 184. These microphones are most sensitive “on axis”, directly in front of the mic.  they also only pick up a little sound from the sides, and reject anything from behind the mic. They’re most often used in pairs, but are still capable of providing a great sound with just one.

If you’re recording your guitar in an acoustically treated room, or a nice sounding church hall or chapel, you can try experimenting with an omnidirectional pick up pattern. You’ll need a large diaphragm condenser mic with switchable patterns, such as the AKG C414 XLS. This will give you a more natural, open sound, and is especially good for classical recordings.

Another advantage in having a mic with switchable polar patterns is being able to use the “figure of eight” (bidirectional pattern) while you’re playing while singing. In this mode, the mic will pick up sound from directly in front of it as well as directly behind it – just insert it in between your head and the guitar.

Recording techniques for acoustic guitar

This could be the subject for a whole new article, but I’m going to summarise the basic points below:

  • Make sure your guitar is in tune

It sound obvious but it may surprise you just how much of a difference in sound quality perfect tuning makes. A well tuned guitar will always sound sophisticated and will easily blend into a mix. If you’re serious about your playing, you could also take your guitar to a luthier to make sure its optimally set up.

  • Experiment with mic placement

I know it seems like a hassle, but believe me, its worth taking those extra few minutes before recording. Sometimes slight adjustments of the mic(s) can have a huge impact on the quality of the sound. You can take this further by trying sonically “live” and “dead” areas of your room, and experimenting with various picks and even different strings.

  • Bassy vs high frequency recordings

If you’re using one mic to record your guitar, there’s a continuum between achieving a bass heavy, resonant sound and a lighter, string-dominant sound. You’ll hear this as you move the mic from the sound hole, up the fretboard towards the tuning pegs. If you’re recording in a stereo pair, you can cover both of these ends simultaneously and get a good balance in the mix.

  • Close miking vs distance miking

The closer you position your mic(s) to the guitar, the more you’ll pick up the guitar’s mechanical sounds such as sliding between frets and finger picking. As you move your mic(s) away from the guitar, you’ll get a more rounded and natural sound, as you’re capturing the whole of the instrument, with a little bit more of the room.

Budgeting for a studio microphone

Another important factor is how much money you have to invest.  A good microphone is built to last, so splashing out a little on the right choice can certainly be worthwhile. 

If you’re planning on making solo guitar recordings, you might be looking for a pair of the same microphones. But this doesn’t mean you have to buy both of those microphones at the same time. You might decide to go for a high-end option such as the Neumann KM 184, and add another one when the budget allows.

If you’re just taking your first steps in recording acoustic guitar, the Rode NT5s offers incredible value, with great sound, and rock solid build quality at a reasonable price point. 

Conclusion

There’s an array of vocal mics out there, each with their own unique characteristics. To recap – to find the best mic for recording guitar, you’ll need to consider the following points:

  • Dynamic vs condenser
  • Bright vs warm tonal qualities
  • Cardioid vs omnidirectional or even figure of eight
  • What other instruments you need to record
  • The unique characteristics of your guitars
  • The sound treatment level of your room

If you want to dive deeper into the different types of microphones, how they work and which one you should be using, take a look at this guide.

Or if you’re considering setting up a home recording studio, you’ll find all you need to know here.