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
If you need a do-it-all acoustic microphone, the Shure SM81 ticks just about every box. As a small diaphragm condenser instrument microphone, it’s effortless to position and has a rapid transient response; it also boasts a broad, flat frequency response for uncolored, lifelike tones.
The Audio-Technica AT2020 is an ideal option for those on a really tight budget. It’s still a condenser microphone, and has a natural sound. Considering you can regularly find them for around $100, it’s one of the cheapest ways to get serviceable acoustic recordings.
Stereo recording techniques are often a favorite for capturing acoustic guitar, and if that’s what you’re looking to do, a pair of AKG C451 Bs will give you superb, bright tones with a nice stereo field. They particularly excel at capturing high-end detail.
Best overall
✅ Buy if: You want a do-it-all acoustic microphone that is easy to position and durable enough to take on the road.
❌ Avoid if: You want a warm vintage tone, as it errs on the side of bright and a little clinical.
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
✅ Buy if: You’re looking for a solid and dependable microphone for home recording.
❌ Avoid if: You are looking for a professional-grade studio recording microphone. This is aimed more at the casual hobbyist.
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
✅ Buy if: You want a reliable pencil condenser with integrated low-cut switching and a pad.
❌ Avoid if: You prefer a warmer-sounding microphone, the C451 B is notoriously bright.
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
✅ Buy if: You want a professional, studio-grade microphone that delivers incredibly organic tones.
❌ Avoid if: You are new to recording acoustic guitar – this may be more than you need to begin with.
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
✅ Buy if: You want a warm, open-sounding ribbon microphone without some of the traditional ribbon drawbacks.
❌ Avoid if: You are looking for a microphone for live recordings. The figure of 8 polar pattern will pick up ambient noise.
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
✅ Buy if: You are looking for a studio microphone that provides extreme warmth and detail from your acoustic recordings.
❌ Avoid if: You need something compact to travel with, as this is a big microphone that requires additional external power.
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?
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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.
Where to place a single mic set-up?
Aim the mic at the obvious place – directly at the sound hole – and it’ll be overwhelmed by a build-up of bass resonance, making for a boomy recording or performance. Instead, to find the sweet spot for both warmth and clarity, move it east a bit, so it’s pointing at the junction between the guitar’s body and neck. This will typically be around the 12th – 14th frets.
If it still sounds too muddy, move it up the neck slightly – gently does it, just small increments at a time – but if you’re beginning to hear too much treble and annoying finger noise bring it back down towards the body again. All guitars and all mics behave differently, so it’s a matter of trial and error. Of course, as previously mentioned, small diaphragm condensers are a natural for this, because they can be aimed with great accuracy.
If the results are consistently boomy or thin, then play about with the distance between the mic and the guitar. Generally speaking, when recording you’ll want to get the best signal to noise ratio possible, which means bringing the mic right up close to the sound source. However, there are potentially two issues with this. Firstly, position the mic too close and it may interfere with your fretting hand. Second, the proximity effect will come into play, which manifests as a boost in bass frequencies.
Some microphones are much more prone to the proximity effect than others, and while some do add a pleasing warmth many just suffer a thick layer of muddiness. So, final placement will depend on your guitar, your mic and your playing style, but 6” to 12” should do the trick. Another good reason for placing the mic away from the guitar is so that you can pick up room ambience and natural reverb, which may be desirable. Or not. It’s your choice.
Is a multi-mic set-up worth it?
As you can probably imagine, multi-mic rigs can quickly become horribly time-consuming to set up successfully, and you must consider lots of additional issues such as phase. That said, there are a couple of established dual mic configurations that aren’t too much of a burden and sound fantastic.
Spaced pair (A/B) uses two mics in separate positions, often a small diaphragm condenser at the 12th fret and a large diaphragm condenser at the bridge. The small diaphragm condenser will pick up a clear, transparent rendition, while the large diaphragm is there to add body, ambience and warmth. Done right, the result will sound huge.
Just make sure you set up each mic individually first before playing with the stereo mix or you risk losing yourself in hours of sonic befuddlement.
A coincidental pair looks to achieve similar results but this time the mics are stacked one on top of the other, aimed 90 degrees apart in a V formation. The 12th fret is a good place to start, so that one is picking up clarity from the neck while the other is finding richness from the body. Adjust left/right and back/forth until you find the sweet spot. The advantage of a coincidental pair over a spaced pair is that you’re far less likely to suffer phase cancellation issues.
Finally, before you press the big red record button, or pick your first notes in front of a live audience, make sure your guitar is in tune. It’s so common to spend hours on setting up sophisticated mic placements, only to forget the basics.
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
What kind of mic should I use to record acoustic guitar?
There’s no right or wrong type of microphone to use for acoustic, though something with a wide frequency response is absolutely crucial, regardless of microphone type. If you’re looking for a safe bet, a small diaphragm condenser microphone is likely to give you strong results for recording, and they can be picked up for reasonable prices.
A personal favorite microphone type for recording is a ribbon microphone, which captures the natural warmth of an acoustic beautifully, though these can be expensive, delicate, and record in a figure of 8 polar pattern, meaning they capture audio from both sides, which may not be desirable depending on the location.
Finally, a dynamic microphone may not have the nuance of either a condenser or ribbon microphone, but can be excellent for strummed playing due to their ability to cope with high SPL.
Where should I place the mic?
There is no specific ‘right place’ to position your microphone to record acoustic, but if you want all-but guaranteed results, try positioning your microphone up to a foot away from your guitar and point it somewhere between the 12th fret and the bottom of the neck.
The closer you point it to the sound hole, the more ‘boom’ you will have. I would recommend avoiding pointing directly at the sound hole as this will generally overwhelm the rest of your tone, particularly if you are close to the guitar as the low end can be emphasized due to the proximity effect.
Should I record in mono or stereo?
Recording in mono for acoustic guitar is absolutely fine, particularly if you are likely to process it with ambient effects after recording, which may bring a stereo quality to the sound anyway. I have always enjoyed recording acoustic guitar with at least two microphones, often using one to pick up the powerful ‘oomph’ from the guitar’s body, and the other to pick up some of the nuances further up the neck.
Alternatively, if you’re in a really exciting ambient room, a mono microphone for the core guitar sound, with a spaced pair or microphones to get the natural ambience of the guitar in that space can be a total game-changer. However, beware phase issues, which can undo all your good work.
How do I avoid phase issues in stereo setups?
Phase issues arise when two (or more) sound waves interact with one another. If the waves are in phase, the sound will be thicker and fuller – essentially how it should be. However, if the waves are out of phase, they can cancel each other out, causing parts of your signal to seemingly disappear.
The more microphones you introduce when recording, the greater the chance of phase problems. Fortunately, there is a relatively simple – though not completely fool-proof – solution. Ideally, you want to get both microphones the same distance from the source in question, which should ensure both mics are in phase. This isn't always possible however, and not always necessary either as experimenting with different positions can create some unique sounds.
Most DAWs have a phase switch, or you can use an EQ plugin with one to check the phase once you've got your mics set up. The key here is to listen for the change in low end. You should find when the mics are in phase you'll hear the low end very clearly come in to play. Record some of your guitar first then play it back on a loop, clicking and unclicking the phase button while listening for the change in the low end.
How important is the room sound?
The importance of room sound really depends on the room; for starters, I wouldn’t recording in small, highly reflective space, such as a bathroom, unless you specifically want that sound, but the reality is that many of us aren’t lucky enough to record regularly in an acoustically treated environment that has desirable sonic qualities, and that’s fine.
If you look for a microphone with a cardioid polar pattern, they will be very directional and pick up your acoustic, and not a lot else, and then room sound can be added digitally when it comes to mix stage. If you are lucky enough to have access to a room with interesting sonic character – perhaps with lots of wood, or a particularly large hall, then absolutely try to use that in your recordings as it will give a truer reflection of the sound that you hear and are inspired by. I always like to make sure I have a clean, relatively dry recording of my acoustic, which can then be blended with any ambient room recording to make sure it has ample punch.
Can I blend the guitar's pickup with a microphone?
You absolutely can blend a pickup with a microphone and in some acoustic guitar pickup/preamp configurations, this is exactly how they work. A microphone generally provides a more natural tone, but a pickup will be great for sound isolation and can have a nice strong attack. Generally, you’ll want more of the microphone in your mix, but having the pickup to blend in can be a nice way to reinforce your acoustic’s sound on record.
Why does my recording sound boomy or boxy?
If you’re suffering from boom, chances are you’ve got your microphone pointed too far towards the sound hole of your acoustic, and, depending on how closely you’ve put the microphone to the sound hole, you may also be suffering from proximity effect, a phenomenon where bass response is louder the closer you get to a sound source. A build-up of these low frequencies can cause this boominess in your recording, which is almost always undesirable and will sound really bad in a mix.
If boxiness is occurring, that too can be a build-up of frequencies, this time generally in the low-mid range and, once again, can be attributed to proximity effect, as well as the impact of room reflections on your recording.
In both situations, moving your microphone is a good place to start, aiming the capsule further up the neck and away from the sound hole. You may also want to move it back from the acoustic slightly.
If you still find that there is a bit of ambient boom, then consider changing the player’s position in the room – for example, not facing a corner/wall. Finally, if you’ve done everything right and you are still struggling to eradicate low-end boom/boxiness, then you may need to call on an EQ to cut some of those low frequencies. If you’ve got through unscathed and your recording is basically perfect, beware going too crazy with compression, as this can pull up some of those lower frequencies and introduce boom at the mix stage.
What gain settings should I use?
The gain setting will be dependent on a number of factors, including the type of microphone you are using, the distance the microphone is from the acoustic, and the style of playing you are using. My advice would be to start with a lower gain, play as hard as the loudest part of the track you are recording, and then set the gain to ensure that your audio never peaks in the red (0dBFS) – the ideal amount your audio should peak at is around -12dBFS.
How do I capture fingerstyle versus pick attack?
With fingerstyle, you don’t necessarily need to change your recording technique, with many of the same principles remaining important. You will, however, need to record with more gain, as the input signal is likely to be significantly quieter than it would be if you were recording strumming.
You may also want to explore using different microphones, such as small-diaphragm pencil condensers, as these have quicker transient responses, which is ideal for the more attack-focused fingerstyle playing. They will also have good clarity, so you can hear every note clearly.
Another benefit of pencil condensers is that they are often available in matched stereo pairs, and I would recommend using two microphones in stereo for recording fingerstyle, as that provides a beautiful stereo image - try an X/Y configuration where the two microphones are angled together at 90 degrees towards the 12th fret, which offers a nice, focused stereo image.
Should I record single takes or overdub layers?
Overdubbing has become the norm for recording sessions and in most recording software, it’s never been easier to punch in and seamlessly blend takes, so don’t worry too much if you can’t record in one go. That being said, if I can record in one single take, I’m generally happier with the consistency of the playing and the overall ‘feel’ of the recording.
Even the best punch-ins can sometimes be audible as generally players may play the first note a little harder than the rest, so it’s best to drop in a little earlier than you need to and then mix the take at the right place. Ultimately, it’s whatever works for you. Some of the biggest hit records of modern times would have been recorded with countless overdubs and you’ll not have noticed, so, unless you are particularly staunch that you need to play everything in one go, don’t fear the overdub.
How do I fix squeaks, resonances, or ringing sounds?
The best way to address any unwanted ringing or squeaks when recording is to identify and fix them at source, but that’s not always possible. If you have inadvertently recorded your acoustic and found some frequencies or noises really stick out, then I’d suggest using an EQ to reduce those frequencies.
If you’re not sure which frequency is causing the problem, a parametric EQ will let you sweep the frequencies to locate the one causing you issues and then adjust the width of the band (called the Q) to reduce only a very narrow range of frequencies, which means you won’t be getting rid of the sounds you want.
What processing should I use after recording?
Depending on where your recording will be used, you may wish to apply some light compression, to help bring down some of the peaks in your playing to give a more balanced sound. EQ may also be applied, generally in a subtractive capacity, to take away any resonant frequencies that poke through, or reduce a boomy bottom end.
After this, any number of effects can be applied to acoustic recordings, though reverb is perhaps the most common, particularly if you haven’t recorded any ambience with the acoustic.
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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