Bruce Springsteen rallied an army of guitarists to celebrate America’s 250th anniversary and the opening of the Bruce Springsteen Center for American Music on June 4 and 5. Over two nights, an eclectic mix of artists — including Jimmie Vaughan, Gary Clark Jr., Sheryl Crow, Rosanne Cash, Jon Bon Jovi and Jackson Browne —interpreted musical selections representing the history of American music.

Part academic history lesson, part Ken Burns documentary, part TED talk — and with 100 percent commitment from every artist onstage — Music America: The Songs That Shaped Us was a joyous homage to the power of song and the melting pot of artists responsible for America’s rich musical heritage.

Instruments as varied as tribal percussion, drums, horns, guitar, voice and turntables fleshed out a song list that encompassed jazz, folk, rock, Irish, blues, gospel, bluegrass, country, hip-hop and R&B.

A highlight of the concerts was the time-honored blues jam, which featured Springsteen trading licks with Clark, Vaughan, Nils Lofgren and Disciples of Soul guitarist Marc Ribler (the show’s musical director) on the Bobby ‘Blue’ Bland classic “Farther On Up the Road.”

In addition to jamming with the Boss, Vaughan represented the electric blues genre, and specifically Texas blues. As part of the second night’s show, Vaughan brought his Texas swagger front and center with a solid performance of “Texas Flood,” the Larry Davis-penned classic famously recorded by his late brother, Stevie Ray Vaughan.

“Electric guitars were invented right here in America,” Vaughan told Guitar Player In a pre-show interview. “I’m a student of the Texas guitar players, and the Mississippi/Louisiana area. I love all the guitar playing. There’s a lot of guitar players in Texas and the Southwest, and all over America.

“How do you talk about something so vast and worldwide? You couldn’t have Texas without the blues. But we couldn’t do it without every state. It’s American and it spread all over the world.”

While the electric guitar was the link for most performances on the closing night, the acoustic guitar was front and center for most of the first night’s musical selections. Jazz, blues, folk, country and early gospel were highlighted. Narration and historical context provided in between songs by the Center’s Executive Director and historian Bob Santelli as well as by performers, like Keb’ Mo’.

“A whole lot of us would be doing nothing without Robert Johnson,” the guitarist noted before launching into Johnson’s classic “Crossroads.”

The spirit of Woody Guthrie was well-represented, with Springsteen and Kenny Chesney duetting on “This Land Is Your Land,” while Springsteen and Rosanne Cash sang the immigrant ballad “Deportee.” Boston’s Dropkick Murphys performed a raucous “Shipping Up to Boston,” which features lyrics by Guthrie, and then joined Springsteen for an energetic performance of the Boss’ Guthrie-inspired “American Land.”

Cash also performed the Appalachian ballad “The Parting Glass” and the Carter Family’s “Bury Me Beneath the Willow,” with her husband, John Leventhal, joining her on guitar. Cash — who is the daughter of Johnny Cash and step-daughter of Carter Family core member June Carter Cash — recognized the importance of Mother Maybelle Carter’s pioneering pick-strum style. She recalled learning the technique directly from the source.

“When I was 18, I went on tour with my dad," she said. “The Carter Family and Carl Perkins were on that tour. I spent a lot of time in the dressing room with the Carter women, and they took the time to teach me those old Appalachian ballads. I owe a tremendous debt to those women. I learned those songs and my vision expanded.”

Springsteen kicked off night two’s tribute to pop, soul and rock music with a pair of Elvis Presley songs from different eras: the ’50s hit “Jailhouse Rock” and his early ’70s rocker “Burning Love.”

The significance of Chuck Berry’s guitar playing and lyrical wordplay was captured by Jon Bon Jovi on “Johnny B. Goode” and Steve Van Zandt on “Bye Bye Johnny.”

“Chuck Berry. He wrote the lyrics, baby,” Van Zandt told the crowd.

Sheryl Crow showed her musical depth with admirable interpretations of “I Fall to Pieces,” the 1961 Patsy Cline country-pop crossover hit, a solo acoustic rendition of Bob Dylan’s “A Hard Rain’s A-Gonna Fall” and then inviting Springsteen, former Dylan guitarist Larry Campbell and his wife Teresa Williams on stage for an emotional take on “I Shall Be Released.”

Gary Clark Jr. showcased the funkier side of Jimi Hendrix with a fuzz and phaser-filled version of the relatively obscure “Power of Soul” (a.k.a. “Power to Love”), from Band of Gypsys, while rock pioneer Dion performed his classics “The Wanderer” and “Abraham, Martin and John.”

Nils Lofgren paid tribute to his longtime friend Neil Young with “Rockin’ in the Free World,” shredding guitar leads and sharing vocals with Bon Jovi.

The shows were a kickoff for the opening of the museum, a 30,000-square-foot facility situated on the Monmouth University (NJ) campus. The Center serves as a hub for research, education, exhibitions, and public programming focused on American music and its role in American history and culture.

An exhibit titled America's Instrument: The Evolution of the Electric Guitar includes a variety of guitars Springsteen has used over the years, including the Fender Telecaster he purchased for $185 in late 1972/early 1973 from Jersey Shore guitar shop owner and luthier Phil Petillo. The guitar — which features a 1953 Esquire neck and a 1951 Telecaster body — is seen on the cover of his 1975 breakthrough album, Born to Run. Springsteen retired it in 2005 and it now resides in the Center.

The Center’s opening celebration was a two-week event and included two smaller shows that preceded the main event.

The first of these was The Native American Music Experience, which celebrated Indigenous musicians’ contributions to popular music. It featured performances by a solid roster of artists from multiple tribes across America, a group Santelli says has been “under-appreciated, disrespected and ignored for far too long.”

Colorado acoustic fingerstyle guitarist Cary Morin played deft bluesy licks on a detuned guitar on his original “Live a Little.” Using a Weissenborn lap steel, Pura Fé’s soothing melodic playing, subtle slide riffs and ethereal vocals were a highlight of the evening’s performances.

New Mexico’s Levi Platero, a Navajo Nation native and 2016 Native American Music Award recipient for Best Blues, ripped explosive minor blues and volume swell riffs on his Fender Stratocaster on his originals “Start Over” and “Work Hours.”

Florida’s Osceola Brothers high-energy set featured aggressive guitar playing and explosive fuzz-driven riffs and solos from guitarist Cameron Osceola. Celebrated Mohawk guitarist and two-time Juno winner Derek Miller performed with actor and vocalist/harmonica player Gary Farmer.

In addition, a visual gallery paid tribute to key Native American artists that include blues pioneer Charley Patton, Jesse Ed Davis and Link Wray. The evening ended with a singalong jam on the Redbone top-five hit “Come and Get Your Love,” written by Native Americans Pat and Lolly Vegas.

The second event was America 250: A Jersey Shore Celebration of the Nation’s Music Heritage, which featured a cast of locals and legends performing songs in a format similar to the two larger events. They included blues guitarist Sonny Kenn, ace acoustic picker Pat Guadagno and recent American Idol finalist and indie singer/songwriter Jake Thistle, with musical direction coordinated by guitarist/songwriter Gordon Brown.

Earlier this year, I spent time with SSL’s SSL 2+ MKII, an interface aimed at musicians and creators looking for professional-grade recording capabilities in a compact desktop format. Now Solid State Logic has introduced the SSL 1, a tidy little audio interface that occupies a different place in the company’s lineup.

Rather than expanding on the SSL 2+ MKII’s feature set, the SSL 1 strips the concept back to its essentials. Designed for beginners, mobile musicians, podcasters, streamers and content creators, it focuses on delivering SSL’s renowned audio quality in an even more affordable and portable package.

For users who don’t need multiple mic inputs, MIDI connectivity or advanced routing options, the SSL 1 presents a straightforward path into the SSL ecosystem. Fortunately, SSL has managed to simplify the experience without sacrificing the qualities that have made its interfaces so appealing.

At the heart of the SSL 1 is a 2-in/2-out design. You get one SSL microphone preamp with 48-volt phantom power alongside a second input that can handle either line-level sources or instruments such as electric guitar, keyboards and bass. It’s a configuration that will feel immediately familiar to solo musicians, singer-songwriters and content creators who rarely need to record more than one or two sources at a time.

The headline feature remains SSL’s Legacy 4K enhancement circuit, which emulates some of the character associated with the company’s legendary 4000 Series consoles. Engage the switch and recordings gain a subtle lift in presence and harmonic richness. It’s not a dramatic effect, but it can help vocals cut through a mix more effectively and add a touch of polish to DI guitar tracks.

More importantly, the SSL 1 sounds excellent even before the 4K circuit enters the equation. The microphone preamp is clean, quiet and detailed, capturing vocals and acoustic instruments with impressive clarity. The instrument input performs equally well, delivering the kind of solid low-end response and articulation guitarists expect when tracking directly into an interface.

SSL has also equipped the unit with 32-bit/192kHz conversion, ensuring the audio quality matches the standards found throughout the company’s current interface range. Monitoring is handled through a dedicated headphone output and balanced monitor outputs, while USB-C connectivity keeps setup simple whether you’re working from a desktop workstation, a laptop or a mobile recording rig. The SSL 1 runs on bus power when used with a computer and has a five-volt USB-C input for a phone charger or external power bank when you're recording with a phone or tablet.

Ease of use is one of the SSL 1’s greatest strengths. The front panel is uncluttered, the controls are intuitive and there’s very little standing between unboxing the interface and recording your first track. That simplicity makes it particularly attractive for newcomers who may find more feature-packed interfaces intimidating.

Build quality is on par with its SSL 2+ big brother. Despite its modest price, the SSL 1 feels reassuringly solid. The knobs have a smooth, substantial feel, the chassis inspires confidence and the overall design reflects the same attention to detail that has helped establish SSL’s reputation in professional studios around the world.

Of course, the streamlined design won’t suit everyone. Users who regularly record multiple microphones, work with external MIDI hardware or require extensive routing flexibility will eventually encounter the SSL 1’s limitations. But those users are not really the target audience.

Instead, the SSL 1 is aimed squarely at creators who value simplicity, portability and sound quality above all else. In that role, it excels.

Like the SSL 2+ MKII, the SSL 1 delivers the polished sound quality and thoughtful design that have become hallmarks of SSL’s interface range. The difference is that it does so with a singular focus on accessibility and ease of use. For beginners, mobile musicians and content creators looking for professional audio without unnecessary complexity, the SSL 1 is an easy recommendation.

SPECIFICATIONS

CONTACT solidstatelogic.com

PRICE $159.99

CHANNELS Two

CONTROLS Channel 1: Gain control, Legacy 4K button, +48V phantom power and high-pass filter. Channel 2: Gain control, instrument/line button. Monitor control, monitor mix control

METERING Five-LED array per channel

ANALOG INPUTS XLR, 1/4” (instrument/line)

ANALOG OUTPUTS Two 1/4-inch TRS, 1/4” headphone

CONNECTIVITY USB 2.0 Type C connector, 5V power input on USB 2.0 Type C for external power

PERFORMANCE Up to 32-bit dynamic range, all major sample rates up to 192 kHz

SYSTEM REQUIREMENTS Mac OS 12 and higher | Class-Compliant, Plug-and-play. Windows 11, Windows 11 ARM. Requires ASIO/WDM driver (provided)

DIMENSIONS 7.6 × 5.1 × 0.25 inches

EXTRAS USB-C cable, free software and offers. Kensington Security Slot on back panel

PRO Detailed sound, SSL’s proprietary Legacy 4K feature,

CON None, but make sure the limited inputs meet your requirements

If you’ve always dreamed of cutting the cord but never wanted to deal with the inherent hassles prone to most sophisticated wireless systems, Fishman’s got a worthy plug-and-play digital design to consider. For the wireless wary to fully embrace, it would have to be stupidly simple, attainable, reliable and compatible with most active and passive instrument pickups. Enter the AirLock.

The concept could not be more straightforward. Plug the transmitter into your guitar, the receiver into your amp or first pedal, and play away.

The AirLock is Fishman’s first foray into the wireless field, and this move makes total sense. Fishman makes tons of pickups, and a proprietary wireless platform designed to deliver all sorts of signals to amplification is a logical next step. It’s kind of surprising this hasn’t come about before over Fishman’s more than three decades of operation, but also understandable as the company that started out making acoustic pickups has been busy conquering arenas from amps to electric pickups. It stands to reason that a Fishman wireless design would be aimed at the masses that simply want to connect.

I’m glad this review wound up in my hands because it was high time to reconsider going wireless. Like lots of players, I never wanted to deal with big battery packs or worry about signal quality or dropouts. Those concerns were clearly high on Fishman’s list of priorities as indicated right in the name: AirLock. The design looked super simple, so I inquired about a review unit. That took several months as the product has been back ordered since it was announced in summer of 2025. There’s clearly an eager audience for such a system. I couldn’t wait to try it out in front of one.

Talk about simplicity, I was able to achieve AirLock engagement without referring to any instructions.

The nifty product box that you’ll take on the gig has form-fitted compartments for the TX Transmitter and RX Receiver. The latter is slightly larger, but both are very conveniently sized and lightweight. Each fits perfectly in the palm of a hand and has an extendable/retractable 1/4" jack attached.

Open the zippered box like a suitcase, and the top half contains all the cords and connectors plus a quick start guide. It’s easy to charge both units simultaneously using the USB Y-cable into a wall charger (not included). An LED light on each unit turns from red to green when ready. The same happens during the pairing process, which happens automatically.

I plugged the transmitter and receiver into a Taylor guitar and amp, and just like that the cord was cut. The full-bodied tone of the acoustic came through loud and clear, and I started walking around the room feeling like Sir Roger Daltrey running along the beach in Tommy — “I’m free!”

I had a few gigs coming up and brought the AirLock along on an Allman Brothers tribute, a holiday party and a wedding. I was still flying blind, and that turned out fine, as there are only a couple of controls to consider. On the transmitter, you can select from three different Cable tones approximating a length of three, five or 10 meters. I found that interesting. Have we all finally adopted the metric system? Anyway, the tone kind of opens, loses bass and becomes more treble-y the longer the selected length, just like an actual cord. I prefer to keep mine as thick as possible on the lowest setting of three meters, or about nine feet.

There’s also an Interference switch with options for low, medium, and high depending on how much Wi-Fi is bouncing around a given room. From what I can tell, the main trade off as you increase the level of Interference resistance is a tiny increase in latency, but even on the highest setting I could play my fastest licks without feeling the tone noticeably lagging behind my fingers. I wasn’t sure what I was going to be dealing with, so I simply choose the middle setting and had no trouble getting a great sound wherever I went.

It was particularly fun on the holiday party gig because the guests were seated at long tables, and since the first set was all acoustic guitar with no vocals, I was free to stroll my merry way along the audience. I’m the bandleader in the Allmans tribute, so it was great to be able to get up close to each cat for cues. At the wedding, which was actually for the drummer in the Allmans tribute, I walked all around the venue, which was kind of like a rustic barn house, and once again had no issues getting a great tone wherever I roamed.

What I dig most about AirLock is its simplicity. It’s truly plug and play. But what surprises me most is how much I like using AirLock around the house. It’s awesome to audition loud electric guitar tones with the amp in the next room. AirLock works through the walls in my house unless I go into the kitchen, which apparently has more interference, as even on the highest Interference setting, the signal drops out there. AirLock goes into sleep mode to save battery if you don’t play for a while. So I wound up simply leaving it on all day around the house and “waking it up” every once in a while when I felt like playing.

I tried a variety of guitars, and the one I had a bit of a concern about the transmitter fitting was a Fender Stratocaster, as that unique input jack style running up the body means there’s no great way to maneuver the AirLock Transmitter very far out of the way of a flailing plucking hand. At the very furthest, it’s just far enough. I play freehand and do a lot of flailing, so if I can deal with it, everybody else should be on terra firma.

I haven’t had the opportunity to try AirLock in an obviously high radio or Wi-Fi interference situation such as a music festival, but according to the product literature, “AirLock operates on a license-free frequency of 2.4 GHz using 24-bit A/D/A digital audio conversion with a range of up to 150 feet.” It goes on to point out, “This is not some typical 2.4 Ghz radio design that makes you choose between Wi-Fi or wireless. Unmatched interference handling allows you to overcome dense Wi-Fi situations with incredibly low latency, yet still achieve audio quality as good or better than a standard instrument cable.”

I can attest to that, as I compared the AirLock to high-quality cables and found the signals comparable.

I also found the battery to last plenty of time to cover any of the gig situations. According to product literature, the internal battery lasts for about nine hours and is user replaceable, meaning you can replace just the battery kit rather than the whole apparatus after, say, four to five years of trouble-free operation. In the age of disposable everything, I appreciate this consideration.

Another cool application is using the AirLock to record directly to a computer using the USB-C on the Transmitter, which facilitates direct recording or streaming without the need for an interface. Fishman.com says, “This USB digital audio output is 24-bit, class-compliant, which means you don’t need no stinkin’ drivers.” I checked it out, and it works great. That’s very handy for recording to a laptop in the hotel after a gig.

Since I have a Universal Audio Apollo Twin X interface at home, I wound up using the AirLock wireless with the Transmitter plugged into the front guitar input jack, eliminating cable clutter and sounding as good or even better than a cord to my ears during tracking and when I A/B’d the recordings upon playback.

Kudos to Fishman for stepping up and delivering simple, reliable wireless signal processing designed specifically for guitar players. Cables suck! Being untethered feels fabulous and sounds great. I’ve often joked around at the end of a gig when I’m still winding cables after most everyone else has left that I’ll be doing this for eternity in hell. Now I’m in cordless heaven.

SPECIFICATIONS

PRO-AIR-GT1

CONTACT fishman.com

PRICE $319.95 street

CONFIGURATION 1/4" instrument set with Transmitter and Receiver

I/O AND CONTROLS TX TRANSMITTER 1/4" input, USB-C (charging), Bluetooth pairing, Interference (low, med, high), Cable Tone switch (3m, 5m, 10m) power on/off, LED indicators for pair and power

I/O AND CONTROLS RX RECEIVER 1/4" output, 9VDC in, USB-C (battery charge or record out), power on/off, Bluetooth pairing, LED indicators for pair and power

BATTERY Rechargeable internal Li-Po, user replaceable, 9-10 hours per full charge, 3 hours after 5-min charge

RADIO TECH RF channel diversity with automatic channelization and interference avoidance; operating frequency 2.4 GHz license-free (2402 – 2480 MHz, 80 channels)

OPERATING RANGE 120 feet spin range; 150 feet line-of-sight

INTERFERECE MITIGATION User-adjustable to overcome dense Wi-Fi environments

LATENCY 3.3ms/4.1ms/4.9ms depending on L/M/H Interference setting

AUDIO PERFORMANCE 118dB dynamic range

FREQUENCY RESPONSE 20Hz to 20kHz

DIGITAL AUDIO CONVERSION 24-bit A/D/A, 32-bit internal processing

BUILT U.S.A.

PRO Simple, reliable, rechargeable, flexible, attainable

CON No great to way to keep Transmitter fully out of the way on Strat-style inputs

Johnny A. understands that an artist needs to keep growing and shifting up the show to keep his audience on its toes. When GP Presents was on site at Yoshi’s in Oakland at the outset of 2025, he wowed a capacity crowd with his expert solo looping performance. He went so far down that rabbit hole that we wound up doing a feature interview about it.

When Johnny A. comes back to the Bay at the outset of 2026, the show will be totally different. He’ll bring a pair of aces up from Southern California: Evan Coniglio (Quincy Jones, Burt Bacharach) on bass, and Vancil Cooper (Hamilton, Queen Latifa) on drums. They’ll help Yoshi’s kick off the New Year with a highly anticipated set on the first Wednesday in 2026.

Johnny changed from playing a signature Gibson to a Fender a few years back, and he confirms that element of his show remains the same, saying, “I’ll be playing my signature Strat.”

The material on tap is “a mix of a lot of classic-style blues rock, with a few of my instrumentals thrown in,” Johnny says. “Not as much chord/melody stuff on this run.”

Interestingly, that’s the stuff that originally put him on the map as a solo artist. Johnny is perhaps the last cat to have a bona fide instrumental guitar hit at terrestrial radio. “Oh Yeah” came out around the millennium flip when he stepped out from his role as music director with Peter Wolf (J. Geils Band) and released his acclaimed debut, Sometime Tuesday Morning.

After a string of successful solo albums, Johnny joined the legendary Yardbirds, where he manned the lead guitar spot once held by Jeff Beck.

Since Jeff’s passing on January 10, 2023, Johnny has been leading a tribute dubbed Beck-Ola, and these days he largely plays instrumentals with a whammy-infused, vocal type of melodic approach. He’s also doing some singing. Johnny used to tour the West Coast regularly with a trio, but it’s been a long time, so we’re thrilled to help facilitate that happening again.

If you’re planning to be in the San Francisco Bay Area at the outset of 2026, please come see Johnny A. at this special trio show presented by GP. We’ll have free Martin strings for players at the table in the lobby.

The best way to show support and get great seats is by snatching up advance tickets right now.

WIN TICKETS!

For a chance to win a pair of tickets to see Johnny A. in Oakland, California, on Wednesday, January 7, send an email to gp@jimmyleslie.com and put “Johnny A.” in the subject line. Include a sentence about yourself and why you want to go. Phone contact greatly appreciated for confirmation.

Winner must provide their own transportation to Yoshi’s in Oakland, California, and have their own accommodations in the Bay Area. Best of luck!

EVENT DETAILS

GP Presents Johnny A

Wednesday, January 7

Yoshi’s

Jack London Square, Oakland, California

7 p.m. doors; 8 p.m. show

We'll be handing out free packs of Martin strings

Get tickets

There are plenty of two-channel digital audio interfaces on the market these days, and with good reason. They’re small, portable, and provide easy and affordable access to DAW recording and podcast production. I’ve recommended several units to friends and family over the years, but the options have all been so similar as to make one interface about as good a choice as any other.

The Solid State Logic 2+ MKII interface is different from the competition. It's packed with features that make it an ideal choice for collaborating with a partner, for recording and syncing MIDI and analog gear, and for sending signals to multiple monitors and outboard gear for further processing. It opened up recording opportunities I hadn't even thought of, and provided the solution for recording and automating expression inputs on my effect pedals.

For added convenience, it’s powered by your computer through a USB-C (2.0) port (a USB-C cable and USB-C to USB-A adapter are included), and it boasts one knob/button per function, making it a cinch to use.

And because it’s from SSL, the 2+ MKII includes the company’s Legacy 4K switch on each input. Inspired by the company’s SSL 4000 series consoles, Legacy 4K is a gentle top-end boost with a touch of pleasing harmonic distortion to give mixes the classic sound heard on countless recordings over nearly five decades.

INS AND OUTS

The SSL 2+ MKII has a nice, pro look, with its black-and-dark-grey enclosure and white graphics. It has a roughly nine-by-six-inch footprint, which is pretty standard, in an angled case that’s about 1.25 inches at the front, rising to 2.25 inches at the back.

The front edge of the unit has instrument inputs 1 and 2 and headphone outputs A and B. Around on the backside are a pair of Neutrik combo jack mic/line inputs, which can accept either 1/4-inch or XLR plugs. The back panel also has the USB-C port, a Kensington lock port to physically lock the device to a desk, and a pair of full-size five-pin MIDI in and out ports — a very welcome feature. Whereas other units feature MIDI mini jacks, which require an adaptor to connect standard MIDI cables, the full-size ports make connections a breeze.

The back is also where you’ll find the four outputs. While their obvious use is for connecting two sets of monitors, they can send audio signals from the SSL 2+ MKII to outboard gear (effects, an external mixer), making it easy to reprocess recorded tracks through your physical gear. In addition, the outputs are DC coupled, which means they can send control voltage (CV) signals from your DAW to outboard gear, such as synthesizers and effect pedals that accept CV signals (more on this below).

CONTROLS

The top of the unit has all the controls in a straightforward arrangement, with sections for channel inputs, on the left, and monitoring, on the right. Each of the two mic inputs has a +48-volt phantom power button for condenser and ribbon mics, along with a red LED that lights when the switch is active. Next to this is a Line button to select the line input source, and another button that engages a high-pass filter to roll off bottom end. Each of the latter two buttons also has its own green LED to indicate when the feature is active.

Below this is a five-segment VU meter, a gain knob and the Legacy 4K button to engage SSL’s classic top-end boost.

To the right of the channel inputs, the monitoring section includes a large monitor knob to set output levels for your monitors, two headphone volume controls — labeled A and B — and a mix knob to blend between the input signal and the DAW output, with zero latency. The mix knob has a stereo switch (with green LED) for stereo monitoring. In addition, headphone output B can take its source from outputs 1/2 or 3/4, allowing a separate headphone mix for a second artist. That’s a very nice touch that gives the 2+ MKII the edge if you typically record with another musician.

UNDER THE HOOD

Now for the things you can’t see. Inside, the 2+ MKII has a pair of SSL-designed microphone preamps that boast a huge gain range for a USB-powered interface. In addition, the interface has 32-bit/192 kHz AD/DA converters, allowing you to capture audio in remarkable detail.

Those features really showed their worth when I got down to recording and mixing. I tried out the 2+ MKII for a couple of weeks using a range of monitors, microphones, electric and acoustic guitars, and keyboards, including modular synthesizers. My initial impression is that doing mixes just felt easier and less complicated. Having a bus-powered unit eliminated the need for another AC jack and made it easy to pick up my laptop and the interface when I wanted to move to another room.

And at the risk of sounding lazy, the unit’s angled control panel was a nice ergonomic feature that let me make knob and button changes without having to so much as lift my arm from the desk.

ON TEST

The mic preamps offered plenty of power for every mic I tried, from condensers to ribbons, and the high-pass filter worked as expected for rolling off bass. Guitars and keyboards also worked well in their respective inputs, with more than enough gain on hand and no noise issues.

The same goes for the headphone preamps. The presence of two headphone jacks seemed like a good reason to invite a friend over for some jamming. My listening options included two sets of high-end Sennheiser HD 800 S, both of which require generous power to get full volume, and the 2+ MKII delivered results without any strain, allowing us to enjoy ourselves while not bothering anyone within listening range.

For all the great features onboard, the Legacy 4K mode is the most tantalizing part of the package, and it’s one I think most guitarists will be eager to try. The SSL 4000 Series consoles are known for imparting a uniquely sweet EQ boost that comes from the harmonic distortion produced by various components in its signal chain. It’s a slightly forward sound that gives instruments an extra bit of mojo.

In use, the Legacy 4K mode added a nice subtle sheen to everything I tried it on, including electric and acoustic guitars, vocals and keyboards. SSL says the 2+ MKII interface, like SSL’s others, shares components and topology with their large-format consoles, which is pretty remarkable for a desktop audio interface.

I was equally eager to use the outputs to send CV signals to my synths and pedals. Fortunately my main DAW, Ableton Live, can create CV signals from MIDI data and output them through a compatible device like the 2+ MKII. In addition to allowing me to use CV signals to control my old pre-MIDI analog synthesizers, the interface opened up new opportunities for sound design by letting me send CV signals to the expression jacks of various pedals.

For example, I used a low-frequency sine wave timed to the beat of my song to sweep selected controls on my Chase Bliss Mood looper and delay pedal. The advantage here is that, once a CV signal is recorded, it can be routed to any pedal and even re-used on another track. It’s a great way to experiment, and it frees you from having to re-perform expression pedal movements if you decide to re-record your track.

At the end of the day, the SSL 2+ MKII proved itself an excellent interface for both its sounds and features. I can think of no similar unit that offers as much at this price point, and obviously no other that includes SSL’s Legacy 4K feature. To make the deal even sweeter, it ships with SSL’s Production Pack bundle that includes software from Ableton, Antares, Celemony, IK Multimedia, and others, making it easy for newcomers to get started making tracks.

There's plenty here to please guitarists, not least of which is the Legacy 4K setting, but there’s no reason to overlook the numerous other treats here. Together, they can make creating music easier, friendlier and more fun, all while achieving studio-quality results.

SPECIFICATIONS

CONTACT solidstatelogic.com

PRICE $299

CHANNELS Two

CONTROLS Gain control, Legacy 4K button, and switchable Mic/Line, +48V phantom power and high-pass filter per channel. Monitor control, monitor mix control with stereo button, headphone A and B volume, with channels 3/4 source button on B

METERING Five-LED array per channel

I/O Front: Two 1/4-inch instrument inputs. Back: USB-C port, five-pin MIDI input and output jacks, four balanced DC-coupled 1/4-inch outputs, two Neutrik combo jack mic/line inputs

CONNECTIVITY USB 2.0 Type C connector (Box includes Type C to C and Type C to A)

PERFORMANCE Up to 32-bit dynamic range, all major sample rates up to 192 kHz

SYSTEM REQUIREMENTS Mac OS 12 and above | Class-Compliant, Plug-and-play. Windows 10. Windows 11, Windows 11 ARM. Install included ASIO/WDM driver

DIMENSIONS 9.2 x 6.25 x 2.75 inches

EXTRAS USB-C cable, USB-C to USB-A adapter, free software and offers. Kensington Security Slot on back panel

PRO Detailed sound, SSL’s proprietary Legacy 4K feature, two independent headphone outputs with volume and mix control, plus four DC-coupled outputs for more monitoring, sound processing and voltage control options

CON None

Positive Grid has become quite a force in guitar amplification over the past six years. Their innovative Spark smart amp debuted in early 2020 and brought a wealth of innovations to guitarists for home practice. Those included excellent stereo sound from a desktop amp, dozens of modeled amps and effects from Positive Grid’s award-winning BIAS FX line, Auto Chord Recognition to help you learn songs, and Smart Jam virtual jamming with drum and bass accompaniment. Spark did all this by working in tandem with the Spark app, which provides convenient access to the amp and effect settings, presets, chords and more, right on your phone.

Positive Grid has served up several iterations of Spark since then, including the smaller MINI Amp, the coat pocket–sized Spark Go, and Spark LIVE, a Guitar amp and PA all-in-one that's powerful enough for live performance. Last year, the original Spark got an overhaul with Spark 2, featuring a new speaker design, improved audio, a built-in looper, and AI features that let the Spark app serve up new preset options based on descriptions you give to it.

Now comes Spark Neo, which puts all those quality sounds, and nearly every one of those features, in a pair of wireless over-ear headphones that connect with the Spark app. The result is an immersive audio experience that delivers excellent clarity and detail you can’t get from headphones alone.

Neo includes a headphone set, as well as a wireless dongle that plugs into your electric or acoustic or bass and connects wirelessly to the headphones. The headphones are covered with the same textured tolex found on Spark’s amps, which has a pleasing, almost suede-like feel. The gold-tone metal fittings have an attractive satin finish, and generous pads for the ears and inside the top of the headband keep the phones comfortable to wear over long sessions. They look and feel well built, and while they’re not heavy, the headphone do have a bit of heft that tells me they can stand up to the wear and tear of daily use. The ear cups fold in, making them more compact for travel in a backpack or case.

• Order Spark Neo now for $199 with free shipping

The body of the dongle is roughly two and a half inches long. Its entire length with the 1/4 plug extended in about four inches, but the plug can be angled to position the dongle out of your way when it’s attached to your guitar. All in all, it’s an attractive package that, like the headphones, feels solid and durable.

The Neo headphones are designed to reproduce both guitar and bass frequencies. To that end, they feature full-range 40mm drivers, with specially designed acoustic chambers in the ear cups and passive tuning for precision frequency control and minimal distortion. While the phones aren’t noise cancelling, they do an excellent job of shutting out environmental noise thanks to the pads, damping materials, and other design elements. For added convenience, the outsides of the ear cups have controls for power, volume and preset selection on the right-side cup, and the wireless receiver on/off button on the left.

Both the phones and wireless dongle charge via USB-C (a braided USB-C cable is included). Expect about three and a half hours to get a full charge. Positive Grid says you can get roughly six hours of use on a full charge when using Neo with guitar, and eight hours use for music playback, all of which is consistent with my experience. In addition, Neo’s headset and dongle shut down when they don’t detect music for a length of time — a nice power-saving feature if you’re forgetful.

And should you forget to charge the dongle, don’t worry — you can connect your instrument directly to the headphones with a 1/4-inch cable and continue to use all of Spark’s features with the app.

Getting started with Neo was simple and intuitive: Plug the dongle into the guitar, connect it via Bluetooth to the headphones, launch the Spark app on your phone, select Neo from the main menu, and you’re done. Bluetooth connectivity was excellent, and I was up and running without a hitch.

I’ve used the entire Spark range over the years, during which time I’ve found several favorite presets and created many of my own. I’ve been impressed at how well these sounds remained consistent in nature regardless of the Spark device I’ve used, so I was particularly interested to see how they translate to headphones.

I’m happy to say the sounds I’ve grown familiar with hold up just fine over Neo, and if anything sound more detailed thanks to the immersive experience Neo offers. It was uncannily similar to wearing headphones while recording in a commercial studio, where extraneous noises — in particular environmental white noise — are tuned out. My general sense was that my guitars sounded more nuanced and professional, as if they had a bit of production polish applied to them.

At the same time there was the sense of the sound moving air. Far from being sterile or “dead,” the sound from my guitars — which included a Gibson ES-345, a Fender Jazzmaster and a Gibson J-160E — was alive and present. It’s all the more impressive when I suddenly remembered there was nothing between my guitar and Neo.

I didn’t have a bass on hand to test Neo with, but I did try it with several keyboards, including a Moog Grandmother synth. Bass patches on the synth sounded surprisingly deep, rich and articulate. I heard plenty of midrange punch and low-end thump, and while I expected a rather compressed sound from Neo’s drivers given the amount of energy that bass frequencies push out, there was actually a sense of roominess and air, as if the tones were coming from an amplifier’s speaker.

It seems worth adding here that, while the Spark line is intended for guitarists, there’s really no reason keyboard players can’t use it as well. Like my other Spark devices, Neo did an admirable job handling signals from a Hohner Clavinet, a Wurlitzer electric piano and a range of synths, provided that I kept an eye on my levels. Considering how underserved keyboardists are in the amp department, Spark is a bounty of sonic opportunities for them to explore.

In addition, Spark’s AI feature is a blast to explore, and it can come up with sounds I might not have discovered on my own. To use it, go the AI page in the Spark app and type in what you’re looking for. AI can work with standard phrases, such as “dirty electric blues fingerpicking,” or more fanciful descriptions like “jazz meets shoegaze.” The results were always right in the ballpark of what I was looking for. When I found something I wanted to keep, I could simply name it and save it as a preset.

While last year’s Spark 2 added a looper to the lineup’s feature set, Neo doesn’t have one. That was no great loss to me, but if it matters to you, it’s possible to plug your guitar into your favorite looper and then plug Neo’s dongle into its output. Likewise, Smart Jam isn’t offered due to the nature of Neo. Smart Jam works by listening to your playing via your phone’s microphone and creating a backing track in real time. Since audio in the Neo realm is confined to the headphones, there’s no signal for the phone to pick up. However, you can still use Quick Jam, which lets you play along to drum and bass tracks.

And lest I forget to mention it, Neo makes an excellent set of audio headphones as well. I frequently went straight from playing guitar with Neo to streaming music, and the quality was excellent.

What could make Neo better? A simple carrying case would be nice. I repurposed a case from another set of Bluetooth headphones when I took Neo on a trip, and it made me more comfortable about traveling with them. It’s a minor point though, and given Neo’s reasonable price tag it I can’t make too big a deal about it.

At the end of the day, Neo is an excellent addition to Spark’s lineup, bringing a more immersive experience to what is already a fun and inspiring line of amplifiers. Whether you crave privacy for your practice sessions, need to keep your volume down for roommates and neighbors, or simply prefer headphones over speakers, Neo’s detailed sound will put you closer to the music you make and give you the power to roam untethered and free while you’re doing it.

SPECIFICATIONS

CONTACT positivegrid.com

PRICE $199

CONTROLS Headphones: . Dongle: on/off

EXTRAS Braided USB-C cable

POWER Full charge in 3.5 hours. Approximately 6 hours charge for guitar, 8 hours for music streaming

PRO Great sound, excellent build and comfortable fit. AI features are both fun and useful

CON No case

We're excited about our first GP Presents event with the sensational Orianthi, who will be appearing at Yoshi's for a pair of dates in mid April.

The signature PRS artist is hot on the heels of playing the PRS 40th Anniversary Party where she rocked a cover of AC/DC's "Back in Black" while sitting down due to hamstring and hip injuries. Those issues forced her to cancel some dates with Alice Cooper, but we're confident she'll be back on her feet come April 16 and 17.

Orianthi is known for her work with Cooper, Michael Jackson, Carrie Underwood, Richie Sambora, Dave Stewart, Don Felder and the supergroup Hollywood Vampires. She’s also had great solo success including an early pop phase, and according to her web site she’s sold over a million records worldwide.

Orianthi released three singles in 2024 showcasing her soulful vocals as well as her tasteful guitar playing. She kicked things off with the blistering blues-rock single “First Time Blues” featuring Joe Bonamassa, and the video has racked up 820,000 views on YouTube.

The gospel-tinged ballad “Ghost” followed in summertime, and then in November came the R&B flavored “Some Kind of Feeling.”

In January of 2025, Guitarist reported that Orianthi is recording two new records. One is a blues-rocker with producer Kevin Shirley, while the other is more of a psychedelic jam project produced by legendary Hendrix engineer Eddie Kramer with drummer Cindy Blackman Santana and bassist Rhonda Smith in tow.

She told Guitarist, “I have a fingerprint of the way I play — a mix of Carlos Santana, Stevie Ray Vaughan and Gary Moore — but I’m constantly evolving.”

We can’t wait to hear some of the new goodness from the PRS-wielding guitar goddess who also has a new signature Orange amp called the Oriverb. She’s playing two shows at Yoshi’s on April 16 and 17.

A GP Presents promotion will be in effect on site the second night with free Martin strings available at the table in the lobby on a first-come-first-serve basis.

Get your tickets right now.

WIN TICKETS!

For a chance to win a pair of tickets to see GP Presents Orianthi in Oakland, California, on Wednesday, April 16, send an email and put “Orianthi” in the subject of your email. Include a sentence about yourself and why you want to go. Phone contact greatly appreciated for confirmation.

The winner must provide their own transportation to Yoshi’s in Oakland, California, on Thursday, April 16, and have his or her own accommodations in the Bay Area.

Best of luck!

EVENT DETAILS
GP Presents Orianthi

Wednesday, April 16

8 p.m. show

Yoshi’s Oakland

Jack London Square

We'll be handing out free packs of Martin Strings.

It’s never been easier to record your guitar at home and with the quality of the modern guitar audio interface, never cheaper either. If you want to start recording or just need an upgrade to your existing setup, then you can grab yourself a cheeky $20 reduction on the Focusrite Scarlett 2i2 4th gen - one of my favorite audio interfaces in the Cyber Monday guitar deals.

I’ve reviewed a huge amount of audio interfaces over the past year, so I’ve got a great overview of what’s available for the modern musician. The Focusrite Scarlett 2i2 4th Gen stood out to me because of its great sound, but also the huge amount of features it has that make it really user-friendly.

One of my favorite features on the Scarlett 2i2 4th Gen is the auto-gain function, which makes it really easy to switch between guitars with different pickup types. Rather than adjust the gain yourself, you can simply hit the button and play for a few seconds, and the Scarlett automatically adjusts your gain to the correct amount for signal strength with enough headroom for mixing and mastering.

There’s also a really great feature called clip-safe which prevents you from recording a signal that’s too hot. If you go over the threshold the interface automatically detects it stops your signal from clipping, potentially saving your recording from some horrible artifacts and unwanted distortion. Although it’s less likely to happen with a guitar recording, it’ll definitely help out if you’re jumping onto vocals or drums.

Finally, I have to shout out the Focusrite Control App which gives complete control of the interface without having to reach for the physical controls. You can control all of the functionality like auto-gain, clip-safe, and the extra modes to color your signal as well as using the loopback functionality. When paired with a phone app you can even use hands-free control in and around your studio.

Universal Audio makes some of the most in-demand studio recording gear available. I’ve been using their interfaces and UAD plug-ins in my setup for years, and the quality of sound and build are absolutely top-line. Don’t even take it from me: take it from the hundreds of producers who put Universal Audio gear and plugins to work in their award-winning productions.

What’s great about UA is that you get the same level of quality whether you’re buying their top-of-the-line audio interface or a basic set-up for your home studio. Which is why I think this Sweetwater Cyber Monday bundle for $200 off on the Apollo Twin X DUO Gen 2 is one to grab before it expires.

If, like me, you've wrestled with external preamps, wonky plug-ins that require nearly constant licenser updates, and a lack of analog and digital IOs, you've probably longed for one audio interface that can do it all.

For me, the answer has been Universal Audio's Apollo interfaces. For guitarists, the Apollo Twin X DUO Gen 2 is really all that's necessary. For one thing, it features UA's Unison preamps for near-zero latency and the lowest distortion and widest dynamic range of any Apollo Twin to date. For another, its DUO Core Processor handles all the plug-in processing needed for the UAD plug-ins that ship with it, freeing your computer's processor for other useful tasks.

As a guitarist, you’ll appreciate that the Apollo Twin X Duo Gen 2 has your home studio needs covered. It features two Unison mic preamps (with phantom power) and one Unison instrument preamp, allowing you to track in real-time with near-zero latency through UAD plug-in models of legendary hardware. With up to 24-bit/192kHZ audio conversion, you won’t want for the highest possible quality recording.

Connectivity is comprehensive as well. The Apollo Twin X Duo Gen 2 offers 10 inputs and six outputs, including analog and digital. In addition to monitor outputs, you get stereo headphones, two line outs, Thunderbolt and optical Toslink (ADAT, S/PDIF).

To make this package complete, the Twin X Duo Gen 2 ships with a sensational bundle of UAD powered plug-ins that includes channel strips and preamps, compressors and limiters, equalizers and speciality processors like Auto-Tune and the Oxide Tape Recorder tape emulator, as well as the PolyMAX Polyphonic Synth plug-in instrument.

Best of all, you can save $200 on this deal right now at Sweetwater.

Want even more processing power? Check out the Apollo Twin X Quad with QUAD Core Processor and the Apollo x4 Gen 2 interface. Sweetwater has great bundle deals on all of them through the end of the year.

Positive Grid made the Spark range even more convenient in 2024 with the addition of the Spark Link, a wireless system that works with any amp. And this Black Friday their new wireless solution for home practice, rehearsals, and the stage just got more affordable with a saving of $30.

Offering 24-bit/48kHz transmission, with a frequency response of 20Hz to 20kHz, the Link offers a transmitter and receiver combo that works across four channels for multiple units in one environment – meaning your entire band can use the Spark Link simultaneously without any interference – it's also USB rechargeable and lasts for six hours.

It comes as two units – one transmitter, one a receiver – Spark's trademark gold and black finish. The transmitter plugs into your guitar, while the receiver plugs directly into your amp.

In our tests, we found the build quality to be top-notch. The units feel perfectly sturdy and robust with the 110° hinge feeling reliable and reassuringly stiff – built to handle the stress of the road.

Simple to set up in terms of audio quality, there was no audible difference between the Link and a guitar cable, with no loss of high-end frequencies, and the range (70 feet; 21 meters) lived up to Positive Grid claims.

It's a great piece of kit, at a great price.

See our roundup of the best Black Friday guitar deals here.

Whilst we all love the sound of a cranked tube amp, the truth is it’s not always appropriate to let rip with some awesome riffs. If you’re anything like me, your long-suffering family members and neighbors have probably made it clear when it is appropriate and when it isn’t. Of course, we don’t want anything getting in the way of our guitar playing, so a pair of the best guitar amp headphones could be the key to unlocking more practice time with your instrument.

I've had my hands on every single one of the headphones in this guide, so you can rely on my recommendations to do the job for you, no matter what your use case. Whether it's practicing your technique late at night, songwriting, or just honing the sound of your amp or pedalboard, playing with headphones really lets you get into the nitty-gritty of your guitar playing.

As someone who regularly works in a professional recording studio, I know my headphones. Over a twenty-plus-year stint making music, I’ve tested and used more than I care to remember, so if you want the best headphone for playing guitar with, I’d go for the Beyerdynamic DT 990 Pro X. They offer superb sound, excellent durability, and an ultra-comfortable ear pad. They are expensive, though, so for a cheaper option, the excellent AKG K240s deliver great sound for relatively little money.

If you’re new to the world of studio headphones, I’ve included a bunch of sections in this guide that will get you up to speed. From a walkthrough on how to choose a pair to a comprehensive FAQs section and a glossary of key terms to decode any lingo, this all-encompassing guide will get you pointing in the right direction.

Best overall

Overview: If you want detail and depth from your guitar practice sessions, the Beyerdynamic DT 990 Pro X headphones will offer it in spades. Although primarily designed for mixing, I’ve had a set of these on my studio desk for a few years now, and they sound absolutely fantastic with guitars.

Build quality: The velour-style ear cushions are super comfortable for long playing sessions, and although the design is non-foldable, these are cans that should be living on your desk rather than traveling around with you. My pair has been around for years now and is showing very few signs of wear other than a slight discoloring of the ear pads after many sweaty recording sessions.

Sound: The frequency response is very flat with these headphones, and the range means you’ll hear every detail from the subs when you engage your octave pedal to the super high end of a shimmer reverb. Like most headphones, there are some peaks and troughs as you move beyond the 6kHz range, but for playing guitar, you won’t notice all that much here.

Do bear in mind however, that these are open-back headphones, which means they let some sound out of the back of the ear cups to deliver a more natural tone. It means they’re not a great option if you need truly silent practice, or complete isolation in a noisy environment.

Best budget

Overview: A proper studio workhorse, the AKG K240 headphones are renowned for their sturdy build quality and low cost, whilst retaining a quality sound. I’ve had a pair of these in my home studio for years now, and whilst aesthetically they’re past their best, in terms of usability, they’re just as good as the day I got them.

Build quality: AKG’s self-adjusting headband is a great feature, with the K240s adapting to your head shape with a little adjustment when you put them on. The lightweight design means they’re perfect for long practice or recording sessions, but it also means they feel a little fragile versus some of the more sturdily built options here.

Sound: They won’t blow you away with sound fidelity like some other headphones on this list, but they’re more than adept enough for use as a guitar practice tool. They sound very spacious and detailed thanks to the semi-open back design, which means there is a little bit of bleed when playing at higher volumes.

Best for beginners

Overview: Among the best-selling headphones ever made, the Audio-Technica ATH-M50x strikes a brilliant balance between affordability and sound quality. They get a lot of hate online nowadays, unjustifiably in my opinion, which tells you something about just how popular they are.

With their slick looks and foldable design, you can take them anywhere, and they’re closed back, so great for isolating yourself in noisy environments and practicing silently.

Build quality: The cushions are incredibly comfortable, so you can wear them for long playing sessions without them becoming an irritant. A removable cable is a handy addition, and the cans fold so you can easily tidy them away or take them on the road with you. They’re very durable too, so don’t feel bad about chucking them in your backpack sans case to take them on the road with you.

Sound: The ATH M-50x straddles the line between analytical and pleasing, which is why they’re a great option for budding guitarists. The closed-back design means there’s plenty of low-end response, probably a little too much for pure mixers, but great for making your guitar tone shine during a practice session.

The mids are relatively flat with a slight dip in the low mids, part of what makes them pleasing versus analytical. The top end also features some peaks and troughs, which again delivers a more pleasing sound that might mean you miss certain frequencies when mixing.

Best all-in-one

Overview: The Boss Waza-Air headphones are essentially a Katana amp wrapped around your head. Placing you in a simulated space with your amplifier, you can turn your head and hear the change in sound as the spatial technology reacts in real time, a feeling that simply has to be experienced.

Build quality: They’re essentially a full rig in themselves, totally wireless with a dedicated transmitter. The headphones will last around five hours on a full charge, and with comfort levels suitable for long sessions, they’re easy to wear while practicing. They do feel a little plasticky, however, despite the hefty price tag, but I wouldn’t have any qualms about their durability, as the typical Boss build quality is present and accounted for here.

Sound: Based on the ever-popular Katana amp series, the tones on offer are fantastic and well-modeled, delivering clean and high-gain tones alike. In static and stage modes, the Waza-Air offers an uncanny sense of physically standing in front of an amplifier, and the sound quality is simply incredible.

Best for isolation

Overview: If you're looking to isolate yourself from any distracting sounds while you play your guitar, I love the Shure SRH840A for its excellent external noise rejection. With a classy design and excellent feature set, they’re perfect for the guitar player.

Build quality: The ear pads are really comfortable, so you won’t have a problem wearing them for extended sessions. I also found the long cable, which locks into the headset, really handy for navigating busy home studio setups. They also fold down relatively flat, so you can take them on the go with you easily.

Sound: There’s a very hi-fi feel to their sound. They’re not quite as flat as I’d like for mixing duties, but they’re certainly useful as a reference pair. When you need the utmost concentration to nail that part or track guitars, these headphones do an excellent job of keeping you focused and keeping any external noise out.

Best for durability

Overview: A cult classic in the world of studio headphones, the Sony MDR-7506 is also a great choice for practicing your guitar chops. Reliable and revealing, with a seriously good pedigree, they’re great value for money and solidly built.

Build quality: They look pretty old school, but Sony has kept the design exactly the same since the 90s. The adjustment bands use a graded slider so you can keep them at the same spot, although I’d like a little more cushioning on the headband. An ‘on-ear’ design means they press down on your ears, which some might find less comfortable than a pair of over-ears.

Sound: Famous for being Andrew Scheps’ mixing cans of choice, they have a very unique sound profile that’s ultra flat in the mid-range, which means your guitar will sound fantastic through these. The signature 10kHz peak makes them great for ironing out any harshness in your tone, and there’s a nice amount of low end for when you want to get heavy.

Also consider

How to choose

If you’re new to the world of guitar amp headphones, this section is for you. Calling upon my decade of experience working in a guitar store, as well as 20 years of playing, I have whittled down the buying process to make it as easy as possible for beginners to select the best option for them. Consider these three things when purchasing your next guitar amp headphones and you won’t go far wrong.

Open back vs closed back

One of the most important things you’ll need to decide is whether to go with open-back or closed-back headphones, as both have pros and cons. Open-back headphones allow airflow, resulting in a more natural sound overall. Expect an airy presentation with no build-up of bass frequencies. However, sound leakage is part of the design, so if you need to keep things quiet while practicing, they may not be the best choice.

Closed-back headphones are fantastic for sound isolation, blocking external noise much more effectively. This is particularly useful if you’re playing in noisier environments or want a more immersive experience. Closed-back designs can sometimes suffer from bass build-up, emphasizing the low end because those frequencies have nowhere to escape. There isn’t really a right or wrong choice here, just a preference.

Check impedance

Impedance is the resistance in electrical circuits, but what that means for guitar amp headphones is that some pairs of headphones require more than others to drive them. Depending on what your headphone output can drive on your amp, you will find that some headphones sound quieter than others.

The general rule is the lower the impedance, measured in ohms, the less power required to drive the headphones. It's worth checking if you're using a small guitar amp to practice with, as a higher impedance means it may struggle to drive them sufficiently to receive a volume that's loud enough.

Comfort

Lastly, always consider comfort. It may seem like a trivial thing, but an uncomfortable pair of headphones is next to useless. If you’re anything like me and end up playing for hours, comfortable ear cups and an adjustable headband are a must. Ideally, you’ll be able to try a few pairs out for size, but if that’s not possible, check Guitar Player reviews or buyer’s guides to get a sense of how they feel during longer sessions.

It's a very subjective thing, so what feels comfortable for one person doesn't necessarily mean it'll be good for you. Thankfully most headphones come with a decent returns period, so you can send them back if you find they're not gelling with your head or ear shape.

FAQs

Key terms

• Cans: This is simply a slang term for headphones.
• Closed-back: A type of headphone that has a fully enclosed earcup. The cups are sealed and block outside noise.
• Fatigue: Ear fatigue refers to your ears becoming tired after extended exposure to sound. It can happen when you listen at high volumes for long periods, particularly when using headphones.
• Flat response: This describes a headphone’s EQ. A flat response means the headphone delivers an even performance across the frequency range, without any particular frequency being boosted.
• Frequency response: This is basically a measurement of how well a pair of headphones can reproduce the full range of sound frequencies. It’s shown in hertz (Hz). For reference, the human ear can pick up roughly 20 Hz to 20,000 Hz, so most headphone frequency charts sit somewhere in that range.
• Imaging: This refers to how well a pair of headphones can separate different sounds in the stereo field. Good imaging makes it easy to pick out where each instrument sits in the mix, which can really help when dialing in your guitar tone.
• Impedance: This is a measure of electrical resistance, shown in ohms. In simple terms, impedance tells you how much power the headphones need to reach a usable volume. Lower-impedance headphones are easier to drive from a guitar amp or interface, while high-impedance studio cans may sound too quiet without extra power.
• Isolation: Isolation refers to how well headphones block out external noise. Closed-back headphones are the best for this, since their solid earcups create a physical barrier that keeps outside sound from leaking in.
• Leakage: Leakage happens with open-back headphones when some of the sound escapes through the back of the earcup. Because there’s no physical barrier stopping it, people nearby will hear a bit of what you’re playing.
• Open-back: A type of headphone with an open earcup design. The cups aren’t sealed, so air can pass freely through the driver. This gives a more natural, airy sound but also means noise can leak out.
• Semi-open: These sit somewhere between fully closed and fully open headphones. Semi-open designs usually let a little air pass through to keep things sounding natural, while still retaining more sound than a true open-back pair.
• Sensitivity: This tells you how loud a pair of headphones will get with a given amount of power. Higher sensitivity means they’ll reach a usable volume more easily, which is handy when plugging straight into a guitar amp or interface.
• Soundstage: Soundstage describes how wide and spacious the audio feels inside the headphones. You'll notice it most with guitar amps using stereo effects like reverb and delay.

How we test

At Guitar Player, we are a team of passionate guitarists who understand the importance of finding the perfect solution for private practice and recording. That's why we have meticulously tested and evaluated various guitar amp headphones to identify the best options available.

To compile our list of top guitar amp headphones, we combine our practical experience, extensive research, and insightful discussions with our editorial team. We consider factors such as sound quality, comfort, durability, portability, and value for money, ensuring that we showcase the finest headphones designed specifically for guitar amplifiers.

As dedicated musicians ourselves, we recognize the value of having a reliable and immersive listening experience while practicing or recording. Whether you're a late-night bedroom player, a traveling musician, or a recording enthusiast, our goal is to provide reliable and informed recommendations to help you discover the best guitar amp headphones that cater to your specific needs and elevate your playing experience.

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Tons of home recordists utilize digital-amp models for their guitar tones, and they are simple and great-sounding solutions.

However, at times, you might get a bug to explore some other tonal options that also work in personal-studio situations.

Here are three tools I’ve tried and I really dug the results…

1. Neunaber Iconoclast

The Iconoclast Stereo Parametric Speaker Emulator lets you plug in your pedalboard or guitar preamp and dial in a host of cool, natural, and organic (or even weird, if that’s your thing) speaker timbres.

The controls are powerful – if strangely labeled (Low is actually speaker size, Mid controls speaker/amp interactions, and High shifts the frequency cut-off) – and I was able to simulate small cabs, combos, half-stacks, and yowling barrages with ease.

The Iconoclast is also a cool plug-and-play option for when you want to get down and work with minimal time setup.

2. Celestion Plus

Within your DAW, Celestion’s Impulse Response plug-ins work with your amp of choice (if you insert a reactive load box between your amp output and recording preamp) or digital-amp model.

From there, the options are spectacular.

The website offers a bounty of Celestion models in various configurations – all professionally recorded in a big U.K. studio.

You can download your faves, explore, and experiment. I tried Redbacks, Greenbacks, Vintage 30s, and even a Lynchback, and the response, impact, and realism was stunning every time.

It’s a candy store of tone!

3. Earthworks SR25

If your old-school jones demands that actually miking a cabinet is the only way to go, then check out the Earthworks SR25 cardioid condenser.

It’s pricey, but the articulation, punch, and dimension it captures is impressive, and it also provides a slightly different sound than the usual “guitar-mic suspects.”

For example, many guitarists consider a close-positioned Shure SM57 as the sound of classic rock, but the SR25 opens up the higher-midrange frequencies for more “air” without losing any of the attack that we love.

I also found the mids to be a tad sweeter than some other mic options, and, in every case, I didn’t have to deploy additional EQ to get a vibrant and compelling tone.

The SR25 works great as a close mic, in off-axis positions, and placed approximately three feet from the speaker for some room tone.

If you have the space to mic an amp, the SR25 is one awesome microphone for guitar.

When it comes to headphones and speakers, you might well be looking for something a bit more rock'n'roll than Apple Airpods and Amazon's Echo family. In which case, we have good news: Marshall's speaker and headphones deals are still going strong at most of the major online retailers – Amazon, John Lewis, Walmart, Best Buy and, of course, Marshall themselves.

We've listed the best deals below, but you could do worse than starting with the Marshall Acton II Bluetooth speaker. It’s down from $279.99 to $149.99 over at Best Buy - part of their Black Friday Deals Right Now sale.

If you’re in the UK, you can get 24% off the price of the Marshall Major IV Bluetooth headphones at Amazon which are down from £129.99 to just £79.

Check out our Cyber Monday Guitar Deals page for the latest and still-live deals.

• Practice in peace with the best guitar amp headphones

Quick links

• Amazon (US) | Shop all latest Marshall speaker and headphone deals
• Best Buy | You want cheap Marshall speakers and headphones? You got it
• Target | The latest savings on speakers and headphones
• Walmart | Big savings on a huge range of audio gear
• Marshall | Buy direct and save big

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Acoustic guitars are naturally expressive instruments with a broad tonal range. Match that with the dynamic input that the player provides – from strumming, to finger-picking and beyond – and the complexity of an acoustic guitar’s tone starts to become apparent. Capturing that tone, then, isn’t necessarily straightforward, and ensuring you are equipped with one of the best acoustic guitar microphones is crucial.

As all acoustic guitars aren’t created equal, acoustic guitar microphones can vary drastically too, with different microphones suiting different environments, and even different guitars. If you are looking for something for live usage/recordings, then your needs will invariably differ from those of somebody looking to record their acoustic in a studio. If in doubt, there are a handful of microphones on this list that are jack-of-all-trades and would be my go-to if I could only buy one acoustic microphone – for example, a great small diaphragm condenser will fit the bill for most environments, blending directionality, with superb clarity, so you get the best of both worlds.

If you want a great all-rounder, the Shure SM81 can handle pretty much anything thanks to its flat frequency response and strong transient handling. If you need something a little cheaper, then the Audio-Technica AT2020 is another excellent all-rounder that can be found for around the $100 mark. If you can stretch your budget to two microphones, even if they’re not a matched pair, you’ll find those acoustic guitar recordings really start to come to life.

Recording acoustic guitar can feel a bit like a science – you’re searching for that perfect sonic sweet spot – but, like everything in the world of guitar, it’s ultimately a personal and taste-driven process. So, to help you make a decision, I’ve put together a how-to-choose section for this guide that has loads of useful information, alongside a comprehensive FAQ and glossary of key terms.

My top picks

Best overall

Overview

If looking for a microphone that does it all when recording acoustic guitar, the Shure SM81 is just about as good as it gets. Its slim body makes it easy to both position and aim, plus it’s a joy to stack with others in a multi-microphone setup.

Build quality

Anybody who knows Shure microphones knows that they tend to be pretty robust, and that is no different here, despite the SM81 being a condenser microphone, which can be seen as more fragile than their dynamic counterparts. The SM81 is ‘field-ready’, and therefore has been constructed to be used on the move, with a rugged vinyl-coated steel casing and fitted with components that have been developed to handle sudden changes in temperature and humidity. It’s just as at home on the stage as it is in the studio. Despite its solid build, I think it’s reasonably well priced, which means that you may be fortunate enough to be able to afford a pair.

Usability

The SM81 is about as simple as it gets for recording acoustic – barring the requirement of 48V phantom power, but this shouldn’t be an issue in pretty much any case. The cardioid pattern readily rejects off-axis noise, so point it towards your sound source and you can expect clear, uncolored recordings. On top of that, the transient response is rapid, the output is high, the self-noise is low, and it has negligible RF susceptibility. If that’s not enough, there’s also a 10dB lockable pad and a three-switch high pass filter.

Sounds

When it comes to sounds, the SM81 boasts a wide 20Hz to 20kHz frequency response and a flat-as-a-pancake response curve for full, detailed recordings. Some may argue that the recordings are a little soulless and very neutral, but I’d argue that it’s just incredibly accurate and faithful, without adding unnecessary coloration. It’ll work well with just about any type of playing too, able to handle high SPL strumming, or delicate fingerstyle playing with ease.

Best budget

Overview

If you want to start recording acoustic guitar on a tight budget – or any other instrument for that matter – my choice would be the Audio Technica AT2020. It's a large diaphragm condenser that performs well above its price point, making it a top choice for beginners, or those looking to introduce a secondary microphone into their recording setup.

Build quality

Despite its budget price, it's surprisingly ruggedly built, so will definitely handle a bit of rough and tumble if you end up using it outside of the home studio, though a drop onto a hard surface could cause serious damage. There's not much in the way of accessories that come as standard, so if you want a shock mount to make positioning for recording easier you'll need to purchase that separately, and I’d recommend getting some form of case if you plan on travelling with this regularly.

Usability

The AT2020 is a pretty simple point and shoot microphone, just get it set in the right direction and you should have solid results pretty quickly. Despite being directional, it will naturally pick up a little more of the ambience of the room around you due to its condenser sensitivity, this isn’t necessarily a bad thing, but something to bear in mind. One thing you will want to be sure of is that you have it pointed the right direction, both sides look pretty similar and, with only a cardioid polar pattern available, it will only record from one side of its face – I have made this error in the past and wondered why my acoustic sounds terrible, fortunately it’s a simple fix. The side with the logo is front!

Sounds

It's got a fairly flat frequency response, which means it will capture the natural tone of anything you point it at, though it isn’t totally balanced like some more expensive microphones. There's not much in the way of roll-off on the low end and it features no low-cut switching, so it'll really grab hold of the boominess of an acoustic guitar if you place it too closely/facing the sound hole. At the high end, a slight high-frequency lift will add plenty of presence and detail to your recorded tones, which helps it poke out in the mix.

Best for stereo

Overview

The AKG C451 B is a studio staple and many recording engineers’ go-to small diaphragm pencil condenser. There is a lot to like about the C451 B when used across a host of different instruments, but a particularly excellent application is on acoustic guitar.

Build quality

The C451 B is a conveniently small microphone that’s easy to aim precisely and it is robust enough to take out on the road with you. It’s also a favourite with drummers for all the same reasons, so don’t be concerned if you see it marketed as such – I’ve seen these things used as drum overheads, which have been unwittingly smacked with a drum stick and they’ve survived to see another recording session.

Usability

The AKG C451 B excels at capturing transients and high-end detail, which makes it perfect for recording acoustic guitar. There’s clarity aplenty, and while nobody can deny that this is a bright sounding mic, it’s never brash, tinny, or fizzy. Instead, there’s a glorious shimmer that quickly proves seductive. The addition of a low-cut filter that rolls off the bass at 75Hz or 150Hz and a -20dB pad make this even more versatile and, seemingly endlessly usable.

Sounds

There are several good reasons why few mics can lift dark-sounding mahogany guitars or mellow cedar-topped instruments better than the C451. It has an ultra-fine diaphragm to catch those fast transients, and the pronounced presence bump after 5KHz goes a long way to explain that characteristic shimmer. My personal favorite application of the C451 B is in a stereo setup, giving you the chance to create beautiful stereo images of your acoustic – if you can, get hold of the matched stereo set to make sure your pair is perfectly balanced.

Best condenser

Overview

Arguably the most lauded name in microphone history, Neumann microphones are known for their quality and workmanship, and the TLM 107 is an exceedingly versatile mic that can be put to many other uses when you’re not using it for acoustic guitar. That does, however, mean that it comes at a premium price tag.

Build quality

Like all Neumann products, the TLM 107 is beautifully constructed, with looks and feel that reflect the price – it even comes in a beautifully crafted wooden case. Despite being built incredibly solidly, I would consider the TLM 107 as a studio microphone primarily, rather than a microphone you’d want to travel with regularly.

Usability

Versatility is the TLM 107’s superpower. With five switchable polar patterns, it can be used directionally or as an ambient microphone. It also features a dynamic range of 131 dB, meaning it comfortably picks up whisper quiet finger-picked playing, to rich, thick strumming. It has two different pad settings, but even without them, Neumann claims it can handle sound pressure levels of up to 141 dB without clipping (up to 153 dB with preattenuation), which is enough for just about any kind of acoustic playing you can possibly imagine.

Sounds

Other than the obviously excellent build quality, another area that the TLM 107 clearly stands proud of more budget-friendly microphones is its ultra-low noise; this thing is whisper quiet, meaning you hear nothing but your sound source.

Its frequency range is 20Hz to 20kHz, which comprehensively covers the range of human hearing and everything your acoustic will throw at you. It’s largely flat, though above 8 kHz, there is a slight boost for clarity, which works perfectly for acoustic guitar (and vocals) to add some sparkle.

Best ribbon mic

Overview

This microphone was originally a pet project for Siwei Zou, sE’s founder, well-respected classical musician, conductor and composer. He loved the tones he could achieve recording with a ribbon microphone but accepted they had some shortcomings, including lack of top-end response and the requirement for a high-gain, high-impedance preamp – so he fixed those issues, with the result being the Voodoo VR2 Active Ribbon Microphone.

Build quality

Like all ribbon microphones, the Voodoo VR2 is less durable than a dynamic, or even most condenser microphones, however with an all-metal housing and gold plated XLR connector, the moment you feel it in your hands, you will know it’s a premium microphone. Built with a hand-tensioned ribbon constructed by sE’s highly regarded internal capsule construction team, the attention to detail is clear to see (and hear).

Usability

The VR2 is very much a studio microphone, and you’ll likely want to use it in a space with nice reflections, due to the natural figure of 8 polar pattern that all ribbon microphones inherently have. That being said, it’s remarkable when you put it in that environment. It’s simple to use out of the box when applied to acoustic, capturing the body and string articulation nicely and handling a full spectrum of dynamics well. For novices, it responds to mic placement changes predictably and I found that it didn’t require heavy EQ at the mix stage.

Sounds

Ribbon microphones are often known for their warmth, but that can verge into the realms of sounding a little dark because of top-end roll-off – that is not the case with the Voodoo VR2. Its frequency response is broader than many other ribbon microphones on the market, with a range of 20Hz up to 18kHz, and its response curve is super flat, barring a slight lift from 2kHz. The result is a ribbon mic that has the highly detailed, extended range of a condenser but sounds totally open and natural. Its party-piece is its active circuitry, which means there’s not a need for a high-spec, super-low-noise preamp either, so while it might seem expensive, I think it can be seen as a bit of a bargain compared to other ribbon microphones.

Best tube mic

Overview

Warm Audio are known for their ‘homages’ to vintage gear, starting in studio outboard gear and even working their way to classic guitar pedals, but among their finest recreations is the WA-47 Vintage Tube Microphone, based on a legendary mic from Neumann. To get it out of the way, I would absolutely implore anybody with the budget for a vintage Neumann U47 to do so, but for most of us who have to practice sensible spending, the WA-47 does a remarkable job of replicating the Neumann, and for a fraction of the price. In terms of cost compared to quality, I’d argue the WA-47 is probably better value.

Build quality

While some may question the ethics behind the WA-47, being a clone of the U47 rather than an entirely new design, there will be few who can question its build. It is built with an all-metal body and premium internal components like a custom K47-style capsule, a Slovak Republic JJ 5751 vacuum tube, and a quality, American made TAB-Funkenwerk (AMI) USA output transformer. All of this feels premium and professional, perfect for studio use.

Usability

The WA-47 is extremely adept at recording a huge range of instruments in the recording studio, including, of course, acoustic guitar, however it does have the drawback of having the external transformer as a necessary addition. This means it really isn’t ideal for travelling, but as a studio microphone, you will find few better.

Sounds

When recording acoustic guitar – as well as pretty much any other acoustic instrument you can throw at it – it displays near-unrivaled warmth, clarity, and smooth top end response. It is equally impressive at capturing both the body and detail of the instrument with rich mids and smooth highs that avoid harshness or brittleness. Vintage recording fans will be particularly interested in it.

Also consider

How to choose

Just like with picking an acoustic guitar itself, when choosing a microphone to pair with it, your options aren’t limited. I’ve been fortunate enough to spend a fair amount of time in professional recording studios, so can comfortably say that there is no right or wrong microphone to record acoustic guitar with, but if you’re unsure on what to look for to all-but-guarantee great results from the outset, then I think there are a few things you should consider to help guide your decision.

Where are you recording?

Are you looking to record at home or in the studio? Or amplify/capture your acoustic in a live environment? These are very different environments and one microphone won’t necessarily be ideal for every situation. For example, my favourite microphone to record acoustic with is a ribbon microphone, however these generally need a lot of gain and will record in a figure of 8 polar pattern, meaning they pick up a lot of external noise; this won’t work for a live environment.

Meanwhile, a cardioid dynamic microphone will be very directional, which means it will generally repel all unwanted noise apart from what it’s pointed at, which is perfect for a busy gigging environment. On top of that, a dynamic microphone will be much more durable than a ribbon or condenser microphone, so can take the rigours of the road well, but the drawback is less clarity and sparkle in your recordings.

How much do you want to spend?

The amount to spend on an acoustic guitar microphone will really depend on how serious you are about your recordings and the (aforementioned) setting you plan to use it in, because live microphones can be picked up relatively cheaply and studio microphones can be eye-wateringly expensive. You can get your hands on a perfectly fine microphone for comfortably under $100, particularly if you’re looking at a dynamic microphone for live use.

On the other hand, if you want to push the boat out, you can spend thousands on a vintage studio microphone. If you can, I think you can get really accomplished microphones for studio recording purposes if you can stretch to the $250+ price bracket.

Do you want to record other instruments?

When thinking about versatility, there are two key things to consider: firstly, whether you want to record any other instruments – vocals being something that many singer-songwriters will also want to record alongside their acoustic – and secondly, the ability to change the character of your recording through switchable polar patterns – moving from a directional cardioid pickup to figure-of-eight or omnidirectional modes that capture both the guitar and the surrounding environment.

For both of these scenarios, one type of microphone stands out as the master of versatility: the large-diaphragm condenser. This style of microphone will often feature switchable polar patterns so you can adapt your setup as required, and it is also ideal for recording a wide range of sources, including vocals, other stringed instruments, and even guitar amplifiers.

How to mic an acoustic guitar

Unlike your voice, or to some extent an electric guitar speaker, where it’s easy to pinpoint exactly where the sound is coming from, an acoustic guitar is more perplexing. Yep, it looks like the sound should be focused around the sound hole but that’s only half the story. In fact, the whole body and the strings are alive with a wide variety of frequencies, and there’s handling noise to account for too.

The following set-ups will work well both in the studio and live on stage.

Microphone types

There are three core types of microphones that you are likely to come across that are best suited for recording acoustic guitars: condenser, dynamic, and ribbon. Each has its own advantages and disadvantages and none are right or wrong for recording acoustic, but have qualities that may make them more optimized for your needs.

Dynamic microphones

Dynamic microphones are trusted and reliable when it comes to all sorts of microphone applications, from recording vocals to drums, to acoustic guitar. Often among the cheaper microphones on the market, dynamic microphones typically feature a cardioid pickup pattern that makes them very directional, which is great for picking up a single sound source in a room with lots of noise.

Dynamic microphones are also very hardy, with the ability to be bashed about and still function the next day, and can be subject to high sound pressure levels without breaking—although it’s unlikely you will ever reach extreme sound pressure levels with an acoustic guitar. For all these reasons, dynamic microphones are typically the choice of the touring musician, facing up to hundreds of shows across the years and continuing to deliver.

A dynamic microphone may not be quite as appealing for you if you play your guitar softly, as they aren’t quite as responsive or nuanced as other microphone types, but players who strum should find they do the job perfectly.

Condenser microphones

Whilst in a live environment it is likely you’ll see a dynamic microphone applied to an acoustic, in the studio it is the condenser microphone that is arguably the default for acoustic recording. Featuring a wide frequency response and super sensitivity to transients, condenser microphones are perfect for picking up all the little nuances in acoustic guitar performances.

This can be a negative for live environments, where a condenser microphone may pick up sounds from other instruments or crowd noise. Combined with the fact that they are also more delicate than dynamic microphones, it may be that players looking specifically for a live microphone avoid condenser microphones.

The versatility of condenser microphones is one of the top reasons they are chosen for acoustic guitar, being equally adept at recording finger-picked guitar, to strummed chords, maintaining clarity throughout. This versatility can come at a price, with the very best condensers costing in the thousands. Fortunately, you can pick up really excellent condenser microphones for relatively affordable prices too.

Some condenser microphones also have variable pickup patterns, meaning you can pick up the sounds from various directions, which can be a fantastic trick to get ambient recordings in characterful environments, particularly when applied in stereo recording setups.

Ribbon microphones

Ribbon microphones have beautiful vintage tones that work superbly well with acoustic guitars, providing a warm and natural sound, with lots of low-end clarity and a smooth high-end, which differs from condenser microphones which can feel much brighter.

Ribbon microphones typically record in a figure-of-8 pickup pattern, which means they pick up sound from the front and back equally—image looking down from above and seeing a figure of 8 with the microphone at the center point of the 8; this is the area that picks up sound with a figure of 8 microphone. This can be really lovely when recording acoustic guitar with lots of additional ambiance, however, it requires a controlled space with little other sound, as this can really muddy your acoustic recording.

Their big drawback is that many ribbon microphones require a lot of preamp gain to pick up quiet playing, such as finger-picked guitar. This can introduce unwanted noise into your acoustic recording if you are not using high-quality preamps. The good news is that there are now options on the market that feature their own inbuilt preamp that activates when subject to 48V phantom power, reducing the need for external preamp gain. Please check whether your ribbon microphone is active or passive before switching on the phantom power, as they are very delicate, and passive ribbon microphones can be damaged if they receive 48V.

FAQs

Key terms

• Ambience: The natural sound of the room or space captured in a recording. On acoustic guitar, ambience affects how “live,” roomy, or intimate the guitar sounds. Ambience can be emphasized using stereo recording techniques.
• Cardioid: A polar pattern that picks up sound mainly from the front and rejects sound from the rear. This is particularly useful on acoustic guitar if you’re looking to reduce room reflections or bleed in a live environment.
• Close miking: A microphone technique where you place the mic very near the guitar (often 12 inches away or less). This generally increases detail and presence and reduces room sound.
• Comb filtering: A sonic phenomenon caused by phase issues where two similar signals arrive at slightly different times (e.g., two mics on the same guitar), resulting in hollow or “phasey” tone.
• Condenser: A sensitive microphone type that captures detail and high frequencies well. They are commonly used on acoustic guitars as they are excellent for recording clarity and articulation.
• DI (Direct Input): Recording the guitar’s pickup signal directly into an interface – requires a pickup of some sort to be installed on the guitar. DI guitar is particularly useful for live or for layering with tracks recorded by microphone, but often sounds unnatural on its own.
• Dynamic: A rugged microphone type that is less sensitive than condensers. On acoustic guitar, dynamics capture a thicker, less detailed tone, which isn’t always ideal for studio use, but they are well suited for live use.
• Figure-8: A polar pattern that picks up sound from the front and back but rejects sound from the side – if viewed from above, this pickup pattern looks like a figure of 8, hence the name. They are particularly useful for stereo techniques and capturing natural room tone as well as a direct sound source.
• Gain: The amount of amplification applied to the microphone signal at the preamp. Too much causes distortion; too little means you will have a weak signal that needs to be boosted, which will increase the noise on the track.
• High-pass filter (HPF): Removes low frequencies. On acoustic guitar, it reduces rumble, boominess, or handling noise.
• Large diaphragm condenser (LDC): A condenser mic with a larger capsule. Often gives acoustic guitar a fuller, rounder, more “record-ready” tone. Larger diaphragms may have a slightly slower transient response.
• Low pass filter (LPF): Removes high frequencies. Sometimes used on acoustic guitar to tame brightness or pick harshness.
• Mono: A single-channel recording. A mono acoustic guitar sits clearly in a mix and guarantees phase issues are avoided. If recording stereo, it is worth checking the recording in mono to make sure phase issues aren’t present (the signal will noticeably drop if phase cancellation is occurring).
• Noise floor: The underlying level of hiss or background noise in a recording, which will be more prominent in lower-quality microphones. Quiet acoustic passages may make the noise floor more noticeable.
• ORTF: A stereo mic technique using two cardioid mics angled 110° and spaced 17 cm apart. ORTF is often lauded for giving a natural stereo image of acoustic guitar.
• Pad (Attenuation): A switch found on some microphones that reduces the output level to prevent clipping when recording loud sources, such as aggressive strumming.
• Phase: The time relationship between multiple signals - e.g., two or more microphones. Poor phase alignment between two guitar mics causes thin or hollow tone due to phase cancellation, whereas good phase alignment will mean your tone remains thick and full.
• Polar pattern: The shape by which the diaphragm of your condenser microphone picks up audio – somewhere between being very direct (one sound source), or broad (the room). Some microphones will have switchable polar patterns.
• Proximity effect: Bass increase that occurs when directional mics are placed very close to the source. On acoustic guitar, it can add warmth to thin sounding acoustics or unwanted boom, particularly guitars with big bottom end.
• Saturation: Harmonic distortion from analog gear or plugins. It can add warmth, thickness, and perceived loudness to acoustic guitar.
• Small diaphragm condenser (SDC): A condenser mic that is often referred to as ‘pencil’ due to their narrow, cylindrical shape. They are often favored on acoustic guitar for their accuracy, fast transients, and detailed high end, though this can sometimes be perceived as overly bright.
• Spaced pair: A stereo technique using two mics placed apart. Produces a wide stereo image but requires careful phase alignment. This technique may not be ideal to capture direct acoustic tones well.
• Stereo: Two-channel recording that creates width and spatial realism. There are many different methods of stereo recording, which can achieve different effects for solo acoustic guitar, including adding ambience.
• Transient: The initial attack of a note (as you pick or finger pluck). Acoustic guitars have fast transients that SDC mics capture well.
• XY: A stereo technique using two cardioid mics placed close together at an angle. Provides a tight stereo image and often has minimal phase issues, so is a good stereo method for novices.

How we test

At Guitar Player, our team of passionate guitarists understands the power and creative possibilities the right microphone offers. With our deep appreciation of home and studio recording, we have extensively tested and analyzed numerous microphones to identify the best options available.

To compile our list of the best acoustic guitar mics, we combine our practical expertise, meticulous research and insightful discussions with our editorial team. We consider factors such as sound quality, functionality, ease of use, durability, and value for money, ensuring that we showcase the finest mics on the market.

Read more on how we test gear and service at Guitar Player.

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Canadian guitarist and singer-songwriter Daniel Lanois has produced albums for such legends as Bob Dylan, Neil Young, Peter Gabriel, Robbie Robertson, Emmylou Harris and Willie Nelson.

Alongside Brian Eno he has also co-produced a number of U2 albums, including 1987’s The Joshua Tree and 1991’s Achtung Baby.

Friendly and forthcoming, he is the polar opposite of the stereotypical paranoid producer who jealously guards his studio secrets.

His unspoken attitude seems to be, why not share a good idea if it will help someone make better music?

The following interview extracts originally appeared in the June 1993 issue of Guitar Player…

What's your favorite way to record guitars?

“It's very important to record musicians as physically close together as possible. You and I are sitting about two feet apart; if we were playing acoustic guitars, we wouldn't have to wave or ask someone to turn up the cans.

“That's why I like to use two amplifiers with each guitar. Once sits right next to you; that's your personal monitor. Then I put another amp of the same type down the hall, splitting the signal with a Morley splitter box.

“I track both amps, but I usually end up using the isolated sound, which still sounds close and personal even if the amps are three rooms apart. I usually place a single dynamic mic fairly close to the speaker, but off-center.”

How about acoustic guitars?

“My main acoustic is this little Guild student model from the late '60s. It's not real loud, but it's fantastic for recording. I keep it in an open tuning; F - F - C - F - A - C low to high, or sometimes F - F - C - F - F - C.

“I don't use a pick. I sometimes mike the guitar, but more often I use these early-'80s Lawrence pickups that The Edge turned me on to.

“Pickups can actually be more musical than the pure instrument. You get additional harmonics that you don't hear acoustically.

“If you're a real purist, this idea makes no sense. But I like to take advantage of the personality of the guitar, pickup, and amp.”

Is board EQ part of the equation?

“I don't rely on board EQ to get a good sound, but I will use it to create a stranger sound.

“I'll give away one of my secret techniques: Say you've just spent a few hours mixing a song with a lot of effects, crazy EQ, and so on. Put that song away and play every other song on the record through that same mix. I guarantee that at least two or three songs will have something fantastic.

“That technique has directed me towards a lot of strange approaches that I never would have come up with normally.”

Any other mixing advice?

“There isn't room for everything to be big. Take Jimi Hendrix records as an example: The guitars are big and powerful, but the drums are like jazz kit recordings. They sound beautiful, but the snares aren't as big as a house and the kick drums don't occupy the whole spectrum.

“Something might serve the music better if it has its own little corner. That doesn't mean it's less important than the foreground, but not everything can be the icing on the cake.”

To what extent are you the architect of the guitar sounds on records you produce?

“Most guitar players have a big rig that they've worked on and put sounds into, and I usually don't mess with that. But quite often I suggest alternative rigs, usually simpler ones.

“The big rig is generally in the band room, and there's a more informal one in the console area where you're working out parts.

“For example, Bono has this old green Gretsch that we often do D.I. just to work out chords. That may sound great, so the guitar works its way into Edge's hands, and we record it that way.

“Nine times out of ten, if you just plug in to work out a part, you actually end up with a pretty good sound. In fact, a lot of Edge's sounds on Achtung Baby were recorded on this little solid state practice amp we had in the control room instead of the AC30.”

Is it possible to make a great record with an inexpensive 4-track machine and a couple of Shure mikes?

“No problem! Cheap recordings can be musical. I know people who recorded on PortaStudios and were never able to replicate the warm, overdriven sounds of those machines in big studios.

“Some of that quality comes from EQ-ing tracks when you bounce them. The version of "The Ballad of Hollis Brown" on the Neville Brothers Yellow Moon was recorded on an Akai 12-track in my apartment.

“We mixed onto a good Sony cassette machine, and I never got a better mix, so we ended up putting the cassette mix on the final album."

How about mics?

“You don't necessarily need expensive mikes. I've always recorded Bono's vocals through a Shure SM58 or 58 Beta.

“Some of the best guitar recordings are done with inexpensive dynamic mikes. I almost always use a Beyer 88 or Shure 57 or 58, though if you want a really pure vocal or acoustic recording, you might have to go with a great tube mike.

“Sometimes technical limitations just mean you have to be resourceful, and resourcefulness never goes out of fashion.

“We were going to record Achtung Baby in a house outside Dublin using Edge's big Neve console, but they couldn't get it ready in time, so we recorded most of it through a cheap Soundcraft console – basically a P.A. board.

“We did use some external Neve preamps, but the board itself sounded great.

“Remember, energy and ideas override technology. If you have the technology, use it. But if you haven't got the cash, don't worry.”

Browse the Daniel Lanois catalog here.

Rock was rapidly shedding its roll in the mid-1960s, but if we had to name the first electric guitar player to prominently define rock-guitar tone, it would have to be Eric Clapton.

Slowhand was a devotee of the blues and had left the Yardbirds in early 1965 when they adopted a poppier sound.

He hitched up with John Mayall’s Blues Breakers for some live dates before heading across Europe in a pickup band, but the best part of a year later, he was ready to put some real hair on that blues guitar tone, enforcing new demands on standard studio practices in the process.

In May 1966, Clapton, Mayall, bassist John McVie (later of Fleetwood Mac) and drummer Hughie Flint entered Decca Studios in West Hampstead, London to record their first studio album, Blues Breakers With Eric Clapton.

The featured guitarist brought with him a Marshall model 1962 2x12 tube amp combo and a sunburst Gibson Les Paul Standard, and declared that he was “going to play loud.”

One of the best accounts of the session has Clapton quoting the engineer’s recollection, rather than probing his own. As Clapton told Dan Forte for Guitar Player in 1985, “I remember reading an interview with [engineer] Gus Dudgeon where he said that I put my amp in a certain place, and he went over and put a mic in front of it, and I said, ‘No, put the microphone over there on the other side of the room because I’m going to play loud.’ I think that sounds like it would be true.”

And Clapton did play loud, pushing his 45-watt Marshall combo – forever after known as a Bluesbreaker – into juicy, trenchant overdrive, made all the thicker and creamier by his PAF-loaded Les Paul.

Almost overnight, this became the sound burgeoning rockers were chasing the world over. For more than 50 years since, “that tone” has never looked back.

Buy the Beano album here.

• Start recording with the best acoustic guitar mics

Every musician needs at least one good mic, and the more flexible it is, the better. Shure’s hybrid USB/XLR MV7 checks a ton of boxes, but musicians might overlook a unit with “Podcast Microphone” written right on the box. That would be an unfortunate oversight considering the versatility of this powerful digital/analog tool.

The MV7 can act as its own interface when connected directly to a computer or iOS device, triggering an impressive modern feature set that’s controllable both on the mic and with expanded features via the ShurePlus Motiv desk-top app. The MV7 can also be used traditionally and was designed with a nod to a Shure icon, the legendary SM7.

The SM7 sounds more refined than the company’s ubiquitous SM57, yet it’s not as fragile and expensive as a fancy condenser microphone. That makes the close-proximity cardioid classic a desert-island mic for many an engineer, including Travis Kasperbauer at Lucky Recording Company in Brisbane, California, where the Go-Go’s recorded their 2020 comeback single, “Club Zero.”

We planned to take the MV7 there for a full complement of comparisons, but that wasn’t going to matter as much if the MV7 couldn’t cut it as a standard live vocal mic, so testing began by running it via XLR into an L.R. Baggs Synapse Personal P.A. for a rehearsal and gig.

The MV7’s strong, high-mid-focused tone was immediately apparent simply by speaking into it, which, of course, is a huge part of the design goal. It’s an excellent tone for podcasting, and singing into it feels a bit different, as that presence really cuts through a mix.

We left the foam windscreen on, because, even though it’s not particularly hardy – which it should be, considering the design intention – it rounds off a bit of the harsh edges and mitigates some of the low plosives.

On a throw-and-go gig, the vocal was clear and present, and we never had to request any EQ or volume adjustments over the course of two sets. Having passed initiation, the mic was ready to hit the studio.

Kasperbauer engineered a session where this writer sang and played a Martin Grand J16E 12-String into the MV7, a 1970s SM7 and a run-of-the-mill SM57.

The MV7’s strong signal sounded fine as an acoustic guitar mic, but not surprisingly it wasn’t nearly as smooth, full and harmonically sophisticated as the vintage SM7. The tone was far more similar to the SM57, but the MV7 was less polished and brighter on the high side, and darker and colder in the low end.

Vocal test results were similar. At Lucky, where everything ran through a vintage API mixing board, the MV7 didn’t compare favorably to its traditional Shure cousins. But that’s where those mics stop and the MV7 starts to shine.

Plug the USB cable directly into the computer – in this case an Apple Mac Pro running High Sierra 10.13.6 – and the MV7 comes alive and alight. The conical mic base now acts as an interface, complete with a headphone jack for direct monitoring.

The digital display panel lights up, and control is significantly expanded upon downloading the free ShurePlus Motiv app (see specs below for a list of its functions). The main takeaway is that you can make basic gain and monitor level changes using the trackpad on the mic, with the row of LEDs acting as an indicator.

Pushing the auto level button puts the mic on autopilot, which is fine when talking or taking a very consistent approach to singing or playing relatively softly. For our trial song, Boston’s “More Than a Feeling,” auto level worked well for the softer verse guitar and vocals, but we could hear the limiter and compressor working hard to attenuate the gain on the significantly higher chorus dynamic.

That’s when we used the app to go into manual mode and find a happy medium for the gain and implement other options, including a high-pass filter, limiter and medium compression setting. It was also fun to turn on live metering and monitor the input level right on the mic itself.

The most important takeaway is that the USB tone was on par with the XLR tone. And while going digital will sacrifice what you gain from a high-end analog preamp, you can compensate for this using the onboard controls, the Motiv app and/or other plug-ins applied “in the box.”

The rugged all-metal Shure MV7 is an innovative analog/digital hybrid that’s ideal for guitarists who are looking to keep their travel gear to a minimum, up their live-streaming game or enter the podcasting arena.

For those seeking a mic suitable for modern digital applications in addition to being quite serviceable for vocals or guitar in the analog realm, this is an impressive jack of all trades.

Specifications:

• FEATURES Dynamic mic with 50Hz to 16kHz frequency range and highly directional cardioid pattern that isolates voice and removes unwanted background noise. Hybrid analog (traditional) or digital functionality with onboard and computer controllability 
• CONTROLS Touch-panel interface. Mute on/off. Tap microphone/headphone to toggle between mic gain and headphone volume; hold to access monitor mix; slide finger to adjust levels, indicated by LEDs (green for gain, orange for phones, green and orange for monitor mix blend). Hold both toggle buttons to lock/unlock touch panel 
• EXTRAS Free ShurePlus Motiv app (desk-top or iOS) accesses auto-level mode that automatically adjusts gain and offers options for mic position and global tone. Manual mode expands mic control settings, plus switchable EQ filters, limiter, compressor and LED behavior, live meters and Night mode. Savable as custom user presets 
• CONNECTIONS Micro-USB out to USB-A or C, XLR out, headphone mini jack 
• COMPATIBLITY Compatible with Windows and Mac plus iOS and Android devices with applicable cables, not provided. 
• BUILT China

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