As the best microphone for recording acoustic guitar will vary depending on the specific guitar, the style of music being recorded, and the acoustics of the recording environment. In general, however, a good acoustic guitar mic for recording will have a wide frequency response and a good signal-to-noise ratio.
Additionally, it is important to consider the directionality of the microphone when choosing an acoustic guitar mic for recording, as a microphone that is too directional may result in a recording that is lacking in depth and nuance.
20 Best Acoustic Guitar Mic For Recording
1. Shure SM57-LC Dynamic Cardioid Professional Microphone
Handheld or mountable microphone for guitars, vocals, and other instruments in live sound and recording applications.
Dynamic cartridge with cardioid polar pattern.
Available with or without a cable.
Includes SM57, microphone clip, storage bag, and user guide The legendary Shure SM57 is exceptional for musical instrument pickup and vocals.
What is the SM57 best suited to? It’s the most popular choice for a professional musician who wants to mic up their amplified or acoustic instrument such as a guitar amp or bass amp, saxophone, trumpet or drums.
It is used on stages and in studios around the world. How does it sound? The contoured frequency response with its presence rise, helps the instrument cut better through the main mix. The extremely effective cardioid pickup pattern isolates the main sound source and will simply record what you point at it while rejecting sound from the rear.
Contoured frequency response is clean, instrumental reproduction and rich vocal pickup Professional-quality reproduction for drum, precussion, and instrument amplifier miking Uniform cardioid pickup pattern isolates the main source while reducing background noise Extremely durable under heaviest use Frequency response 40 to 15,000 Hz Few microphones have the reputation for quality and durability that the SM57 has built up since it first hit the market in 1965.
Since then, this product has been an industry benchmark to which all other studio microphones have been compared. It can be seen anywhere, from small clubs to sports stadiums, and has been used in the studio by many of the worlds greatest musicians.
The Shure SM57 is also the microphone of choice for the White House, providing voice projection for the President since the 1970s. Shure Construction you can Trust The Shure brand ensures a long-lasting product that can withstand years of road or studio use.
The SM57 was put through Shures famous drop test, in which the microphone was dropped ten times from a height of ten feet with no loss in input quality. Buyers can be confident in the durability of this microphone, exposing it to hours in the studio or the elements of an outdoor performance.
The SM57 uses a cardioid pickup pattern to focus specifically on one source, rejecting audio from outside the pickup area. Presidential Sound Quality The SM57 is one of the most versatile microphones on the market.
This dynamic product can handle the highest sound pressure levels without distortion, making it the perfect choice for recording high-volume instruments like drums. Many hit recordings feature the SM57 on the snare, as it can handle the noise without distortion.
This product is also perfect for use with high-volume amplifiers. The SM57 can even handle close up recording on half-stack amps that are painfully loud for human ears. This microphone will help you to bring the feel of a live performance to your recordings for a better representation of your music.
While this microphone is notorious for being used in the studio to record the sounds of percussion, wind, and string instruments, it also provides high quality vocal recording. Whether you are using it for spoken word or vocals, the SM57 will deliver a flawless sound while eliminating background noises.
Because of its reliability, sound isolation, and quality sound reproduction, the SM57 has been used at the podium for Presidential speeches for the past 40 years. The SM57 differs from microphones that are manufactured solely for vocal pickup in many ways.
Vocal microphones like the SM58 have their frequency dialed in to a certain range that is common in most singers, enhancing that microphones pickup of the human voice. The SM57 doesnt have this specific tuning, so it can handle frequencies on a much wider scale, with a response from 40Hz to 15KHz.
Without this tuning, the microphone takes in the sound exactly as it is played, creating a perfect recording every time. This is even preferred by some vocalists who want only the raw input of their voice with no tuning at all.
I bought this mic for recording Quena & Zampona at home, so close miking to minimise environmental noises. For this application it’s great and it’s presence boost really enhances these flutes tone very nicely indeed, sounds amazing even with no EQ.
My audio interface has fairly limited gain range & the SM57 signal level is easily within that range for this application. I don’t currently have any need for more distant miking. Being a dynamic mic the output is low compared to condenser mics which are internally amplified & therefore lend themselves to distance miking without additional amplification.
I see some negative comments by people who bought the wrong mic for their distance miking application. This can be overcome simply by buying a small inline phantom powered mic amplifier that plugs directly into the base of a dynamic mic.
There are several brands available. As these amps are right at the mic, there is zero additional noise before amplification, making the amplified signal as clean & strong as much more expensive condenser mics.
This is definitely the way to go if you need more gain and a great way to go for vocals on a tight budget.
A friend of mine and I have been writing original songs and we didn’t have a way to record, so we dug out the old cassette tape Tascam 6 track recorder and headed to Sam Ash. The guy at the microphone deck was great! Very informed and very helpful.
I explained that we’re recording in a big echoey warehouse and he immediately suggested the SM57 dynamic mic cause it’s unidirectional and will help to somewhat isolate the instrument in an open setting while picking up a strong, solid signal.
It worked perfect and sounded great, just like he said it would. I’m so satisfied that I will be buying a couple more soon, they are extremely affordable for the quality! Thanks again Sam Ash, I’m always a satisfied customer, every time!.
As a high-school musician on a budget, searching for microphones became a tedious and frankly pointless task; every microphone of interest was too expensive. Enter the Shure SM57. It’s cheap, and it’s fantastic.
So far, I’ve used it on vocals, acoustic and electric guitar, and drums (snare and kick). It provides a natural and punchy sound that caters well to any music style. As a close mic, it performs beautifully; and with a more sensitive room mic, it really shines.
The Shure SM81 Condenser Mic is a unidirectional cardioid mic with studio, broadcast, and sound reinforcement versatility. Its wide frequency response, low noise, low RF susceptibility, and rugged construction allow it to excel in all applications.
Furnished with swivel adapter, 10dB attenuator with locking switch, a 3-position low-cut filter, foam windscreen, and a case for carrying and storage. 20Hz-20kHz response.
I have Shure 57 Dynamic, Tascam TM80 Large Diaphram Condenser, and Audio Technica P48 Cardiod Condenser microphones that I have been struggling with to record a Classical Guitar with nylon strings in Pro-Tools.
I am recording in a spare bedroom, so it is not an acoustically managed studio. The issue is getting the microphones placed and gain controlled so that the signal coming into the DAW is around -12dB and there is limited background noise so that the unamplified guitar sounds rich and natural.
I tried various techniques of mic placement, including running the mic into an acoustic guitar amp and close micing the amp with the Shure 57, and various assortment of mic to guitar positions with different gain settings on the Tascam Series 8p dyna pre-amp and Motu 828es audio interface, but was unsuccessful in finding a combination that worked.
So I purchased an SM81 and finally hit the sweet spot of dB level and sound quality that makes the guitar recording a high quality rendition of what is played. I purchased a second one so I could record in stereo and am very happy with the results.
Overall: I have two of these. Bought my first in the 80’s for around $175, and the next year, Shure raised the price to $250, because they realized they had a winner and had underpriced them. Unlike other products over time that go down in price, you can see what they sell for now.
I use with acoustic guitar, and have, upon occasion used two on ONE guitar in stereo for a very unique effect. Wish I had one or two more to be quite honest. Use with my 71 Martin D-28 and have introduced this mic to others.
With the negative proximity affect of micing an acoustic guitar and falsely boosting the base, the two position roll off on the mic simply makes this one of the best mics for acoustic instruments, especially guitar.
Many performers have no idea their guitars sound so dam boomy due to this typical effect when using other mics. But this roll off simply solves this problem and you can move the mic back from the guitar giving the performer more latitude while performing, without any drop off in sound that can occur with less sensitive mics.
The Rode NT5 is a small diaphragm microphone featuring full frequency response and low-noise output circuitry. Designed for general instrument recording and sound reinforcement. The cardioid polar pattern effectively minimizes audio at the off-axis sections, reducing noise caused by leakage, monitors, additional instruments, etc.
The NT5 offers a frequency response of 20 Hz to 20 kHz allowing the microphones to be used in a wide variety of applications such as drum overhead miking, stereo capturing of instruments, vocal capturing, etc.
The NT5 is powered via +24V or +48V phantom power. The package includes a windscreen, mic clip, and padded zip pouch.
the NT5 was an excellent choice for me. I wanted an XLR mic for my SoundBlaster AE9 although it uses both XLR or 3. 5mm, It’s a compact CONDENSOR mic that has a cardioid pattern straight down the barrel that almost eliminates noise from behind the mic.
the Condensor allows for the mic to be further away and it WILL pick up everything as it’s supposed to. I love it, it’s not in your face like other mics. what more can I say. oh 10-year warranty !! can’t go wrong.
I haven’t had a chance yet to fully experience the microphone in any situation, but so far it’s been pretty good. Definitely adjust the gain based on the distance it is from the source. Always keep it a little lower than you would usually like it because that will prevent it from clipping and you can always increase the volume in post production.
I wanted a pair of pencil condensers for the home studio; that I could use primarily for recording acoustic guitar, but that also sounded great in other applications as well. (overheads, room mics, etc.
) On an acoustic as a pair these sound fantastic, the dry signal itself sounds practically record ready (Taking into consideration the instrument quality and room setup as well). There are probably “better” mics out there in this category, but not that I know of at this price, and in terms of sound quality alone maybe not by much.
These NT5’s absolutely blow away any lower end mics I’ve used (MXL, CAD) and as far as I can hear sound basically just as good as most higher end microphones that you’d spend twice as much on. (Go to Youtube and watch some Mic Shootout comparisons with these) I grabbed one of Rode’s stereo bars for the pair which makes setting them up nicely convenient.
(Couln’t find this on musician’s friend, GC, or Sweetwater though. Went to RODE’s website and ordered separate. ) A phenominal set of pencil condensers for the home studio recorder. At 0. 5″ capsules, they don’t overkill high frequencies, but certainly don’t lack in the bottom end either.
I use these mostly recording acoustic & acoustic rock styles and the tonal balance is perfect in my opinion. Excellent clarity as room mics, haven’t tried as kit overheads yet.
In the studio, it is excellent for recording drums, guitar, and woodwinds. Shure SM57 Features. The Shure SM57 Box Includes Shure SM57 Specifications. (1) Microphone Clip. Uniform cardioid pickup pattern isolates the main sound source while reducing background noise.
The new AT2020 USB microphone offers studio-quality articulation and intelligibility. It plugs right into your computer’s USB port, and functions seamlessly with your favorite recording software. Equipped with a USB digital output, the AT2020 USB is perfect for home studio recording, field recording, podcasting, and voiceover use.
Based on the renowned AT2020 The AT2020 USB is based on the design of Audio-Technica’s critically acclaimed AT2020 cardioid condenser microphone. Like the AT2020, it features a low-mass diaphragm, custom-engineered for extended frequency response and superior transient response.
With low self-noise, the AT2020 USB is perfectly suited for sophisticated digital recording equipment. Audio-Technica’s state-of-the-art design and manufacturing techniques ensure that the microphone complies with the company’s renowned consistency and reliability standards.
Experience AT2020 USB. Plug it in and transform your sound.
Natural and transparent sound with exceptional dynamics. The DPA CORE 4099 instrument microphone is the perfect choice for any professional sound application. Capable of handling up to 142dB SPL before clipping, the CORE 4099 microphone is a must-have for close-mic’ing of very loud acoustic instruments.
(As a point of reference, a jet taking off is roughly 130dB). Thanks to the class-leading capabilities, the CORE 4099 microphone lets you capture every detail of your guitar, ukulele, mandolin or dobro with unparalleled results.
Whether you’re on stage or in the studio, the 4099 is designed to deliver. This system consists of a single 4099 microphone with the legendary CORE mic technology, a secure and easy-to-adjust clip for mounting the mic to your instrument (with a body depth between 35mm and 122mm), a 1.
6mm diameter cable extension, and a MicroDot to 3-pin XLR adapter. With all this in one handy package, you can be setup and ready to capture incredible audio without limitations in an instant.
We’ve been using the 4099-DC-1-199-V on violin at our church, and it sounds very natural when comparing to the actual violin. Sound Pro didn’t have it in stock at the time, but when I called them they arranged DPA ship it directly to me and I got it the following day.
I have been trying to find something that would capture the natural acoustic sound of my guitar. This mic provides as close to just about anything I’ve found. Problem is, as I see it, if you are moving around for a live performance or just about any moment, even sitting, it’s easy to knock the mic off your guitar.
Might be fine for sitting and recording, if you are careful, but if you are doing that. might as well just mic it up with a stand. Didn’t mind paying the price. but for that kind of $ my expectation was something more functional.
This mic is great on Drums, percussion, guitars, Strings. I personally have used it Live with artists like Enrique Iglesias on drums and percussion and Hands down is best mic out there. In the studio I had great results on nylon guitars and violins.
It is a cardiod condenser microphone, designed for recording instruments with high transient response, and therefore popularly used for drum kit and percussion recording. The C 451 B features a light diaphram, minimizing handling noise, and a switchable 75Hz-150Hz highpass filter, eliminating low-end rumble.
The High Pass filter enhances the airy character of the audio signal, and thus the C 451 B microphone is a viable solution for overhead cymbal or hi-hat recording. The C 451 B provides a flat, on-axis frequency response, capturing the performance without any signal coloration.
The C 451 B microphone provides both 12V and 48V phantom power, with selectable 10dB-20dB pads included for better signal management.
I’m no recording expert but have recorded for several years to document things I learn on guitar. Have used AKG C 1000 S and Shure Beta 57A in the past. This AKG C 451 B needs 48V phantom power and worked well with my Presonus Firestudio Mobile pre amp.
The C AKG 451 B picked up and produced a good stong clear recording signal that IMO represents the natural sound of my performance on Acoustic guitar. It seems sturdy and well made and comes with a light wieght case that seems like it will do a good job protecting the microphone.
Also included was a mic holder with an adapter ring for size of mic stand threading, wind screen and a manual.
I got this mic to record accoustic guitars, banjo and mandolin. It is a solid mic that emphasize fast transients and lifts up the high frequencies of the instrument. If you noticed that Jack Johnson has recorded most of his giitars with this mic, it will give you an idea of the type of tool we are talking about.
Interestingly, although few people use SDC mics for vocals, it worked very well on my voice when using the windscreen. It delivers some nice and crisp vocals. Comparing the AKG451b to the famous Neumann SDC standard, the sound is a little thinner but in some case it actually helps fit the instrument in the mix.
Basically, when this mic is the right mic for the job it is perfect.
LesPaul2550 says: Just had it over a month and I’ve already tracked the best acoustic guitar recordings I’ve ever made. This saved me having to replace my old Sigma Martin which always sounded good in a room but never when I recorded it.
Now that’s no longer a problem. It’s light but seems durable and plenty solid for my project studio. I like the 2 low cut filters and usually use one of them during tracking. I’m sure if I get a second and use them for drum overheads, I’ll probably make use of the built-in 10 or 20dB pad.
My signal chain is: Mic pointing toward the 12th fret but at an angle to it – a bit toward the F hole, then my UA Solo/610 mic pre, M-Audio ProjectMix I/O and into Sonar or Pro Tools. Once in my DAW I use UAD2 and Waves plugins.
Studer A800, 1084 (VEQ4), 1176, API 2500 then out to the master bus. It also works great as a Mid mic in a M/S configuration but I had better luck using the side mic on its side so instead of left and right in my stereo field, it actually was top and bottom (of the room) so when I strum the low E is more toward the left and high E is toward the right.
The sound then pans as you strum like miking a piano using X/Y where the low keys are more to the left and high to the right. Got the inspiration for that trick by watching Eric Valentine on Pensado’s Place.
He just used two matched mics above and below the neck pointing at the 12th or neck/body joint. I don’t have another 451 yet so I used M/S with my C414B XLII as the side mic. Great combination, btw. I’d still like to try a Neumann KM84 or 184 but that’s a LOT more $ than the 451.
Gotta love the bargain aspect of the 451 as well. No 2 or 3 thousand dollar price tag to deal with. I finally have conquered getting a decent acoustic guitar sound in my project studio thanks to this mic.
without having to buy a new guitar, either. Thanks GC!.
The Rode NT1-A 1″ cardioid condenser microphone has become an industry standard; delivering the warmth, extended dynamic range, clarity and high SPL capability. With a self-noise level of only 5dBA it is widely recognised (along with the NT1) as one the world’s quietest studio microphones.
This low noise makes it an ideal for vocal microphone as well as perfect for recording guitars and percussion. The NT1-A includes everything you need to get a truly professional vocal recording and is ideal for home studio recording.
A studio grade pop shield and shock mount is included, along with a premium 20′ microphone cable, dust cover, and an instructional DVD packed with recording tips. Features: Large 1 capsule with gold plated diaphragm.
Cardioid polar pattern. Ultra low noise, self noise of only 5dB (A). Wide dynamic range. True condenser (externally biased). Internal capsule shock mounting. Includes Rode SM6 shock mount, pop filter and dust cover.
A studio elite. The Neumann KM 184 Stereo Microphone Set is your gateway to flawless recording sessions. Capture every detail with two condenser microphones, purpose built for vocals, instruments, and more.
With their cardioid polar pattern, both microphones focus on what’s important, ensuring no background noise or feedback gets in the way of your performance. A high sound pressure level of 138 dB makes the mic suitable for close miking strings, wind instruments, percussion, and more.
What’s more, a smooth frequency response with a rise at 9kHz delivers a fresh tonal balance. That means truly outstanding audio, every time you hit record. Get to work in minutes. The KM 184 Stereo Microphone Set comes with studio essentials that help you capture the magic without any hassle.
Remove pops and sibilance with two windscreens, and position your microphones with ease thanks to two swivel mounts. It’s all there, right inside the box.
After years of searching I finally found the perfect OH mics! KM 184 matched pair is exactly what I was looking for. They’re perfectly smooth and balanced on OH application. They definitely capture the the natural sound of the instruments without sounding too harsh.
They also sound great on acoustic guitar. I’ve literally used them on every session I’ve done since I got them. Worth every penny ??????.
I love these microphones and I personally own 12. I do live audio and use these on orchestral instrumentation, drum overheads, hihats, and gospel choirs. It excels in all these categories. Some purists say that it is too bright compared to the old KM84, but that is probably a studio problem.
In the live world, some of that brightness can be helpful. The mics are also pretty quiet and the matte black ones are so unobtrusive you nearly forget that they are there. One suggestion is, never lose the mic clip, it is quite pricey.
This mic has jumped my studio sound by 100%. The quality is unsurpassed, and the service you get with American Musical Supply is tops. They offer great payment plans so you can get your gear now, and pay later.
I highly recommend you get this great set of condenser mics from American Musical Supply.
Versatile mic at an exceptional price. The Audio Technica AT2035 condenser microphone is an excellent choice for any recordist. Whether you’re a keen hobbyist or a seasoned pro, this cardioid microphone will provide incredible results at a price that won’t break the bank.
Thanks to an in-built 80Hz filter you’ll be able to remove low-frequency build-up and reduce proximity effect at source, ensuring cleaner recordings. The AT2035 will provide you with smooth, natural, sounding recordings, creating the illusion you’re in the room with the artist.
Drums, bass, guitar, vocals, the list goes on. There’s nothing that the Audio Technica AT2035 does not excel on. The microphone also comes with a custom shock mount and premium protective pouch to store when not in use, reducing the risk of damage.
For the price, this is a solid microphone, good for voice, instruments, or drums (overheads or room mic). It is definitely not as clean and detailed as a $2000+ Neumann U87 but it is a reasonable lower-cost version of the low/medium-priced condensers (eg AT4040, Shure KSM32, Blue Sparkle).
Includes a pad and high-pass filter options, which add flexibility when recording different sounds. I do recommend an inline activator ($150 cloudlifter, or the lower-priced options: ~$100 SE Electronics TNT or Triton Audio Fethead) in case you have a quiet source.
That should be all you need. This is much better than the AT2020. Worth the extra $50. I’m not the most accomplished producer (!) but definitely not a robot, in case you’re wondering. My proof? (1) I have a home studio and have songs published on Spotify and other streaming platforms.
(2) I love Monty Python and a spot of tea. (3) Long live 70s British punk! < insert vomit noise > Happy Recording!.
I purchased the Audio Technica AT-2035 mic for Zoom meetings and to record some concerts. I wanted something that was not real expensive, but I wanted high quality. This mic is a great deal. Plus, it is highly rated.
This mic is great sounding and looks good. I also wanted a large diaphragm mic to record band and choir concerts. This mic has a good sound pressure level without distorting. That worked for me as I want to put the mic near the stage to avoid the room echo.
I haven’t tried it yet, but I think it will work great. For my Zoom meetings I connect the AT-2035 mic to an Art MP Studio Tube preamp with phantom power. The Audio Technica AT-2035 mic requires phantom power to operate as it is a condenser microphone.
I noticed that the AT-2035 is not as sensitive as some other mic’s I have used. I need to turn up the preamp quite a bit to get the level I want. But that isn’t a big issue. Plus I can talk real close to the mic for a great proximity effect without distortion.
The mic is well made and looks like it will work for many years. The shock mount is great. It has large rubber bands to isolate the mic from the stand. The mic is very snug in the shock mount. It takes a little work to get it fully in place.
The AT-2035 model has a base roll off switch and a -10dB switch on the back. There are slots in the shock mount for easy access to the switches. I’m pleased with my purchase. The PigHog mic cable that came with this purchase is great.
It is a heavy duty cable, but flexible and easy to coil. I’m pleased with my purchase.
I own one of these already, and wanted to add more reinforcement of these microphones to my collection. Using the microphone I already own as a Internet Radio DJ microphone, adding on a desktop boom stand, and a professional dual-mesh pop filter.
I purchased two additional AT2035 microphones to allow guests on the radio programme. The unit comes with a compact, well designed shock mount, and a convenient carry pouch. The shock mount attaches easily with some force, but the pouch is useless if you want to keep the shock mount attached to the microphone and travel with it.
The pouch would better be useful if it were a protective satchel or bag. It feels like the included protective pouch was designed to just protect the microphone, before the inclusion of the shock mount.
In either case, the microphone and shock mount are a good combination, and has nice warm sound. Using it mostly for vocal speech DJ hosting work, can’t say much for the singing. My original AT2035 microphone has been in service, doing weekly radio programmes for more than a couple of years now, without fail.
So the unit is well designed, robust, and even though I marked “Heavy/Bulky” under “Cons”, it is ACTUALLY a PRO. This microphone is not intended to be hand-held, and should always be mounted on a boom, or microphone stand, along with some form of shock mount, and therefor, the heaviness and bulkiness of the unit is a POSITIVE thing.
This quality not only adds to the sturdiness of the unit, but its stability in its use. Metal construction on the outside, and thick metal wire mesh to protect the internal cardioid capsule, the microphone can not be picked up without feeling that the unit is built with some degree of durability.
This quality comes across as a sense of ruggedness for the touring or concert performance arena.
The SM7B dynamic microphone has a smooth, flat, wide range frequency response appropriate for music and speech in all professional audio applications. It features excellent shielding against electromagnetic hum generated by computer monitors, neon lights, and other electrical devices.
The SM7B has been updated from earlier models with an improved bracket design that offers greater stability. In addition to its standard windscreen, it also includes the A7WS windscreen for close talk applications.
Includes foam windscreen, close talk windscreen, and locking yoke mount. Bass roll off and mid-range emphasis (presence boost) controls with graphic display of response setting. Improved rejection of electromagnetic hum, optimized for shielding against broadband interference.
Fantastic Dynamic Microphone. This is a Professional Mic and one of the best out there with a big reputation amongst users. First thing I noticed how clear and quiet It was. Build quality is fantastic.
I recommend you get a cloud lifter or something similar just to give it a bit of gain to sound even better like a true pro. You will need 48V for that. Dont forget you won’t get perfection even with this Mic even though it’s great at rejecting noises.
You need an acoustic treated environment if In a studio or even in a Room. A great Mic like the SM7B will show the weaknesses in your environment without acoustic treatment. A decent interface or preamp as well.
Dont forget the XLR cable as well and buy a nice cable for it as its worth it. I love the sm7b and it’s a great experience using it live when others wonder what are you talking through.
Everything that has been written positively glowingly about the Shure SM7B is absolutely true!!! 😉 sound reproduction is extraordinary, tuned for voice and patterned to reject off axis and unwanted noise.
Proximity effect boost is perfect up close. Love this mic! Only one thing t Ill say (and why its 4 stars instead of 5) is that if youre going to buy an SM7B for voice work youre definitely going to need a cloudlifter if your not willing to eat it (speak right on top of it) 24×7.
Signal is beautiful , warm and true but signal is Faint and needs help. Plan an extra $100 to get a CL-1 if you buy the SM7B, but once you do, this mic is totally unleashed to reach its full potential! Acts like a condenser mic almost while retaining its great dynamic mic qualities.
The Shure Sm57 is one of the most popular professional instrument microphones of all time. The dynamic Sm57 mic performs reliably delivering natural sound night after night. Its durable, bulletproof design stands up to road travel and abuse.
Perfectly at home in the studio too. The Shure Sm57 boasts wide frequency response (40Hz-15k Hz) and a tight cardioid polar pattern that are ideal for close-in speaker miking.
The AKG P170 condenser microphone is the ideal small diaphragm model for miking drums and acoustic instruments. It delivers a clean, unadulterated sound. By slightly boosting high frequencies, instruments sound more brilliant.
Their sound becomes more detailed and asserts itself better in the mix. Normally, condenser microphones have difficulty transmitting loud instruments without distortion. The AKG P170, however, can handle sound pressure levels up to 155 dB.
This makes it ideal as an overhead microphone for drums and percussion. The cardioid characteristic makes it insensitive to sound from the side or rear. This gives you good results without crosstalk and feedback even under acoustically less than ideal conditions.
The AKG P170’s rugged metal housing makes it ideal for live use.
I was reluctant to believe that I could make any type of Splash using this microphone to do my first ever voice over gig, but honestly it was all I could afford at the time. It came out smelling like a rose! Of course at that price point you’re not going to get anything close to a u87ai.
And the noise floor in my opinion leaves quite a bit to be desired, but with the little bit of offset compression and some other tweaking, this mic can sound as good as anything Shure has on the market, or possibly even the sm58 for voiceover work.
Upgraded from SM58s for the drum overheads and these are obviously a whole different animal. Beast is more like it because they pick up EVERYTHING. Too much so in a way, these are probably best for quiet instruments rather than a drum set like I’m using em for.
But when you find the sweet spot a pair is really sweet! The -20db switch sounds kind of muffled so I pulled back the mics instead, got em in a sort of spread X/Y config high over the drums, like closer to the ceiling than the drums, otherwise they clipped.
Now they sound great, you have to play quiet but every little nuance comes out in the mix. Makes SM58 overheads sound like tin cans if you’re looking for more definition with the cymbals and rim shots.
On purpose or not they’re gonna come thru loud and clear. Stick clicks, mis hits, bashed cymbals – these mics will not hide your flaws. It all comes through. At this price point I honestly don’t know enough about the expensive AKG’s that look a lot like these to know what the difference is.
Far as I know these sound awesome and a friend who does sound for festivals wants to borrow ’em for flutes, strings, other analog instruments he said so I figure he knows what he’s talking about. To be honest I’d have to wonder about these picking up TOO MUCH on stage, but it was his 58’s I borrowed so one good turn deserves another.
I would have gone 5 stars but there’s no bag or keepsake for these, they are just gonna roll around in the mic case until I figure something else out. But Musician’s Friend gave me a great deal on a pair of these so overall I am really quite satisfied.
One more thing, not sure what’s up with the -20db switch. Sounds like under a pillow switch, actually. I got better results with a -20db switch on a direct box, which also you’re gonna need for phantom power anyway if you’re not plugged into the board direct.
That’s my ignorance and lack of experience there, I thought phantom power was sort of supposed to “transfer” or whatever through an effects box or compressor/limiter, but I musta been wrong because I’m not finding it working like that.
Had to bypass all my rack goodies and go direct to the mixer, the dynamic mics leave more room for pre-signal fiddling, I guess. Shows how little I know. So if you’re just learning like me you might want to make sure about your phantom power setup if you’re gonna upgrade from dynamic mics to condensers.
I thought I was in the know but after the purchase, well that is when I approached this part of the learning curve. 🙂 So in a nutshell if you have tons of experience, you can probably hear why these mics are the price they are.
So four stars. If you’re like me upgrading from dynamic mics, the sensitivity is going to blow you away and everything you tried with the dynamics just won’t apply. And if you are a novice like me, getting these mics is kind of like buying a motorcycle that’s too big for you.
They are going to teach you a lot but you can easily get into trouble. And these are just too nice not to have a keeper bag, AKG. So four stars.
Bought to use for vlog dialog, and i couldn’t be happier. The build quality is amazing and the sound quality is surprisingly rich in the mids. Akgp170> apollo pre> cla2a> 1176> fab fltr Q> BAM! If you purchase to use on vocals dont forget to switch the SPL switch down to -20 to avoid popping.
Small condenser mics dont get enough credit for their versatility. These mics give that condenser shimmer with out sound brittle and make the audio ‘pop’more than the sm57. I cant say its better then a sm57, (because every quality mic has areas it shines in) but its definitely on par overall.
The Sennheiser e 609 Microphone is a dynamic element, supercardiod polar pattern microphone that is primarily designed for capturing instruments. It excels when placed in front of guitar cabinets in sound reinforcement or recording.
It has an attractive silver finish. The e 609’s flat grill allows for easy placement and the supercardioid pattern is most effective in rejecting off-axis ambiance that can cause noise and feedback. The dynamic element is shock mounted and a hum compensation coil controls low frequency noise.
The rugged construction is durable enough to withstand the rigors of the road.
The e609 is a very versatile instrument microphone. I love the design and how it captures (as its primary use) guitar cabinets, both on stage and in studio. This is the new staple that’s been replacing the SM57 for many applications, and for good reason.
The tonal quality is slightly clearer and more balanced by comparison, and the sound comes through very clean. I’ve seen some hang this off the front of an amp from the XLR (mic) cable, but please do NOT do this unless you are using tape to reinforce it.
It’s wrecked a few cables over several uses. Credentials: I took an audio engineering course at age 14 at Academy at Charlemont, MA, and have been a professional audio engineer (studio tracking, mixing, mastering and live applications) and a professional musician for approx.
2 decades. I’ve gotten much use out of these microphones, and I recommend them very highly.
The Rode NT1-A is winner of the Electronic Musician 2004 Editor’s Choice Award and the world’s quietest studio condenser microphone. This redesigned version of Rode’s classic NT-1 has only 5 dBA of self-noise.
The NT1-A has be an industry standard providing the warmth, extended dynamic range, clarity and high SPL capability usually only found with some of the most expensive microphones. Finished in durable satin nickel.
The ATM450 cardioid condenser offers an innovative side-address stick design for endless placement options and minimal obstructions. The microphone is equipped with an integral 80 Hz hi-pass filter that provides easy switching from a flat frequency response to a low-end roll-off.
Audio Technica ATM450 also features a switchable 10 dB pad that lowers the microphone’s sensitivity, providing higher SPL capability for flexible use with a wide range of performers and system configurations.
The condenser microphone’s extended flat frequency response makes it ideal for high SPLs as well as for live and amplified acoustic instruments. Includes a professional isolation clamp to provide secure mounting, versatile positioning and effective dampening of unwanted mechanical noise.
I have used and still use the Worlds best microphones available. But I had a chance to heat this Audio Technica ATM450 in a ‘live’ situation and was totally blown away by the crispness and tonality of this small condenser mic.
Moreso, I purchased 2 almost immediately. the sonud is musically crisp and pleasing to the ear (this analogy was based using the ATM450 as a HiHat and Overhead mic). I now have two in my ‘live’ mic arsenal of go to microphones.
I wl probably purchase a third so I can have one also permantently on the HiHat. Of course there are other mics, it all comes down to personal preference, but after many years of recording and ‘live’ sound, I think I am pretty qulaified to reccomend a great mic when I hear one.
You certainly will not be dissapointed. Would I reccomend? 100%.
It stays in place while moving around. Doesn’t need taped to face. Pastor has only been using this mic for about 3 weeks but he likes it much better than the last one that fit over his ear; it moved too much.
Make sure you get the correct connection type that your body pack takes and you should be good to go!.
So it has been a little while since I first reviewed this microphone, I thought I’d do a quick follow up. To my surprise, I see this microphone all the time. If you watch any of Alan Parson’s video’s on the Art and Science of Sound you’ll likely see this on guitar and piano.
I was just watching a KCET music program with the real Mr. Ayers, (movie The Soloist) where they recorded piano using these. There are tons of examples I could give of seeing these wherever I go. I believe these will soon be a staple in most home and semi-professional recording studios.
This mic is extremely great in certain tasks, and absolutely terrible in others, which I believe is the sign of a good mic. Its not a swiss-army-mic like a KSM44 or C414, but it will give you a nice crisp sound to balance out your recordings.
Its a very low profile mic design so it wont get in your way. I have done a few drum sessions using this mic, and while I still only have the one so toms werent a possibility, I had amazing results on the snare, both top and bottom, above the hats about 8 inches away, and to my utter surprise.
the kick. Not for low end, but definition, great to get a beater sound. I’ve used this as a room mic a couple times, but soon gave up on that and went back to a larger diaphragm with omni. I got great results for mandolin, not so great for banjo.
Not amazing on amps. Terrible on vocals of course. Okay on violin, although a little shrill. Good on percussion that has a skin, bongos, congas, etc. I have not tried this as an overhead, waiting to get another one for that.
I would imagine that it would be a pretty good overhead though. So that’s my completely subjective follow up that stems from my own use with this mic. You might have completely different experiences with it.
But I still highly encourage you to get atleast one. Its a good thing to have in your tool kit, especially for the price.
17. AKG C451 B Diaphragm Condenser Microphone Pair
Acoustique identique celle du lgendaire ck 1 cardiode prcis, presque indpendant de la frquence transfert de signal extrmement prcis et rponse en frquence sur l’axe plate. galement disponible en paire stro assortie pour rpondre une demande croissante, akg a dcid de fabriquer le c 451 b avec les mmes performances acoustiques que le populaire c 451 eb + ck 1 d’origine, avec des spcifications nettement amliores.
grce une membrane extrmement lgre, le nouveau c 451 b est presque totalement insensible aux bruits de manipulation. d’autres caractristiques incluent un corps entirement mtallique pour une excellente protection contre les interfrences rf et une grande fiabilit pour d’excellents rsultats dans presque toutes les conditions.
le c 451 b est un excellent outil pour capturer avec prcision les signaux riches en transitoires tels que les percussions, les instruments avec un son percussif, la guitare acoustique, ou pour la prise de son arienne.
Sensibilit leve et bruit de fond extrmement faible cinq diagrammes polaires commutables pour un placement et une souplesse d’application accrus les del bicolores fournissent une indication visuelle rapide du diagramme polaire slectionn et de la surcharge de sortie.
la suspension lastique de la capsule rduit considrablement le bruit de structure transmis par les vibrations du chssis. adaptateur professionnel h 85 pour montage sur amortisseur/support, filtre anti-pop externe pf 80 et pare-brise externe w 414 x.
un microphone de qualit de rfrence spcialement utilis pour la prise de son prcise et dtaille de n’importe quel instrument acoustique. fonctions supplmentaires : haut niveau de pression acoustique et plage dynamique tendue immunit totale aux interfrences lectrostatiques et lectromagntiques des appareils numriques, des crans d’ordinateur, etc.
grce un botier mtallique solide et un tage de sortie sans transformateur. trois filtres coupe-basse commutables et trois attnuateurs de pramplification avec leds pour une indication visuelle rapide tous les composants commutables fonctionnent dans des circuits faible impdance pour une trs grande fiabilit, mme dans des conditions extrmement humides.
Appena mi è arrivato, ho subito fatto il confronto con altri miei microfoni molto più costosi. Ebbene, il 414 non ha per niente sfigurato, anzi è stato tra i più lineari e versatili poichè mette a disposizione diversi tipi di attenuazione, per le più svariate riprese.
Il mic poi esteticamente è molto bello ed è corredato di una comoda valigetta, con incluso perfino l’antipop. Bisogna solo aver cura di maneggiare lo Shock Mounth, essendo di plastica. ma del resto tutti i mic vanno adoperati con estrema cautela! Rapporto qualità prezzo eccellente e consigliatissimo!.
TraduciMostra in lingua originaleOverall: Great microphone!!. I used this to record vocals for my album. In the manual, its recommended to use for back up vocals, however I used it for lead vocals. I just used the recommended settings.
Anyway, Its little more linear than 414 XLII version. I was looking for a good mic that was very linear and works great with pre amp/compressors. The AKG 414 XLS is one of the few mics on the market that is close to a linear frequency response for a reasonable price.
Comes with a case, pop filter and shock mount. No external power needed as well. Its high quality and works excellent for booth recording. The main characteristic of this mic is that it has a sensitive proximity effect.
A vocalist or engineer might have to do a couple of takes to become one with the mic, especially perfectionist. A vocalist or lyricist would have to know how to control there vocals, wind and pronunciations.
Once you get the hang of it, its very controllable and cool to use. I would recommend using a compressor and EQ console with this mic before you send it into your DAW. Comes out smooth and rich. Isolates very well in studio booths.
So glad zZounds offers payment options with free overnight shipping. Can’t beat that!!.
The RØDE NT1-A 1″ cardioid condenser microphone has become an industry standard; delivering the warmth, extended dynamic range, clarity and high SPL capability typically only featured on some of the most expensive microphones.
With a self noise level of only 5 dBA it is widely recognized as the world’s quietest studio microphone. This low noise makes it ideal for vocal recording as well as voice over and environmental recording.
Packaged in the “complete vocal recording solution”, the NT1-A includes everything you need to get a truly professional vocal recording and is ideal for home studio recording.
True condenser transducers Gold sputtered 1/2″ capsules Heavy duty satin-nickel-plated bodies Full frequency response Low-noise, surface-mount transformerless circuitry RODE microphones have earned a great reputation in the past several years for providing excellent studio-quality microphones at a price that’s more accessible to many people.
These mics give you the kind of performance that far exceeds what you’d expect from condensers at this price point. NT5s are excellent mics for recording practically any instrument guitar, flute, violin, saxophone, drums, you name it! As soon as you start recording with RODE NT5s, you’ll understand why they’ve become popular, not only in project studios, but in many pro studios as well.
These NT5s come as a carefully matched stereo pair for the cost of a typical single condenser. And since you also get a pair of windshields, a pair of mic clips, and a custom carrying case, you’ll be hard-pressed to find a better deal.
The NT5s have been seen parked over drum kits in countless studios of all calibers, but you can use them for many other instruments as well. The extremely flat frequency response has just a little dip in the low frequencies with small bumps in the presence range, making them great all-around mics for anything from acoustic guitars to violin.
The conclusion of acoustic guitar mic for recording is that it is a great way to get a clear and full sound when recording your guitar. It is also a great way to get a more natural sound when playing live.
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