What is the best microphone for recording an electric guitar amp?
There is one, famous, that stands out. And you should have it.
But there are also several others, equally excellent, that stand out and provide access to varied recording colors.
When you record an electric guitar by mic’ing a speaker, the choice of microphone is crucial: it will literally shape your sound and thus the character of your mixes.
Not surprisingly, we won’t use quite the same mics for electric guitar as for acoustic guitar or for vocals.
To guide you a bit in your choices and research, I created this list of 9 microphones selected because they are:
- recognized and used worldwide for recording electric guitar amps;
- associated with a price generally accessible to home studio users, namely between €90 and €800 — so no microphones at €1500 that only professional studios can afford.
They are also ranked by price, except for the first one (and you will understand why).
Info: Feel free to ask your questions in the comments of this article, I will answer as soon as possible 😉
What Type of Microphone for Amps?
As always in the studio, it is important to define the type and the directivity of the microphone sought.
The Type
For mic’ing a guitar amp, you can use almost all types of existing mics.
However, dynamic microphones and ribbon mics are most often chosen.
For dynamics, it goes without saying: a bit less sensitive, they generally handle high volume levels from guitar amps very well.
For ribbon microphones, beyond their sensitivity, they are very useful because they attenuate the “fizz” of amps, meaning the crackling in the highs that can sometimes be aggressive to the ear.
On the other hand, I recommend avoiding condenser microphones. In fact, I haven’t included any in this article. Although it is possible to use them in certain situations, they have several drawbacks:
- they are too sensitive in the highs, which is rarely good for recording electric guitar;
- they can saturate quite quickly if the volume is high;
- although individually they can sound very good, during mixing it will be more difficult to integrate them with the rest of the instruments.
The Directivity
Since you are recording a directional sound coming from the speaker, the most logical choice is to use cardioid or hypercardioid microphones.
However, “figure-8” directivities are also very nice for a slightly more open sound, highlighting the characteristics of the room in which you are recording.
Note that for ambient sound recording, nothing prevents you from using omnidirectional microphones. However, since this is not necessarily a common practice, I haven’t selected any for this list.
1. Shure SM57
Brand: Shure
Type: Dynamic
Directivity: Cardioid
If I had to choose just one microphone from this list, it would probably be this one.
Don’t be fooled by its low price, it is a true reference for recording electric guitars. It has indeed been used on thousands of albums, from the Rolling Stones to Megadeth, including Nickelback and Radiohead!
With unbeatable durability, the Shure SM57 (which, contrary to some myths differs slightly from the Shure SM58) is relatively insensitive to bass (< 100 Hz). This characteristic, combined with a pronounced presence peak between 2 and 10 kHz, gives a clear and cutting sound that stands out effortlessly in the mix.
An excellent mic!
2. Audix i5
Brand: Audix
Type: Dynamic
Directivity: Cardioid
Although it is the cheapest on this list, the i5 from the American brand Audix is still a very good alternative to the SM57 presented just before.
It has a boost in the highs as well as in the lows, between 100 and 200 Hz — giving its audio spectrum a “smile” shape resulting in a slightly scooped midrange and rather modern sound.
It stands out well in the mix without being too aggressive.
► See the current price at: Thomann Woodbrass Amazon
3. Sennheiser E609
Brand: Sennheiser
Type: Dynamic
Directivity: Supercardioid
The E609 from the famous brand Sennheiser was designed for close mic’ing of the amplifier.
It has a pronounced proximity effect, as well as a peak around 5 kHz giving it a rather clear and bright sound. While it can certainly be used for all types of guitar recordings, I find it particularly nice on clean or slightly overdriven sounds.
Notably, an interesting feature: thanks to its well-thought-out shape, the E609 does not need a dedicated stand: you can easily let it hang right in front of the amp, and it will do its job wonderfully.
► See the current price at: Thomann Woodbrass Amazon
4. Beyerdynamic M 201 TG
Brand: Beyerdynamic
Type: Dynamic
Directivity: Hypercardioid
The M 201 TG from Beyerdynamic has the particularity of having a fairly flat frequency spectrum with a slight presence boost around 10 kHz, although it is like most sensitive to the proximity effect.
Solid and well-built, it will deliver a rather natural and rich sound, possessing a certain transparency and clarity that is very appreciable.
Capable of recording both clean sounds and metal, it proves to be very versatile.
Tip: try to keep it a bit away from the speaker to make the most of its natural sounds.
► See the current price at: Thomann Woodbrass
5. Heil PR 30
Brand: Heil Sound
Type: Dynamic
Directivity: Cardioid
While it is less famous than the SM57 in home studios, the PR 30 from Heil is still an interesting and very good quality alternative for recording electric guitars.
Its spectrum, quite flat in the mids, has a boost in the sub-bass (below 100 Hz) and a pronounced peak between 2 and 10 kHz, which may explain the quality of the results it gives on guitar amps.
The sound has very good definition, especially for hard rock/metal guitars with high gain: it is articulated, powerful, and warm, but never becomes aggressive. The lows are supported without being too present.
Finally, due to its construction, it has a very low proximity effect — which is often quite appreciated.
► See the current price at: Thomann Amazon
6. Sennheiser MD421
Brand: Sennheiser
Type: Dynamic
Directivity: Cardioid
Another reference for recording guitar amps! 🙂
Very solidly built, the MD421 from Sennheiser features a 5-position low-cut filter, giving it real versatility.
In general, it offers a sound that is a bit more coherent than the SM57, meaning more precise and with more definition, especially in the upper mids and lows (you can check out this comparison video).
The MD421 is an excellent microphone. However, it is often useful to couple it with a second, more aggressive mic, such as the SM57 itself.
► See the current price at: Thomann Woodbrass
7. Beyerdynamic M 160
Brand: Beyerdynamic
Type: Ribbon
Directivity: Hypercardioid
This is a ribbon microphone, unlike those presented above. Predictably, the sound is very warm and natural, especially due to a drop in frequencies above 10 kHz that removes aggressiveness from the sound of amplifiers.
The M 160 thus gives a somewhat vintage sound, detailed and silky but at the same time quite balanced.
Used by Eddie Kramer on some Led Zeppelin and Jimi Hendrix albums (!), it will be most interesting when placed a bit away from the amp to capture the ambiance of the room — and why not combined with an SM57…
► See the current price at: Thomann Woodbrass Amazon
8. Electro-Voice RE20
Brand: Electro-Voice
Type: Dynamic
Directivity: Cardioid
The famous RE20 from the American brand Electro-Voice is a very good quality microphone that handles high volume levels well.
It is therefore particularly effective for rock and metal, with fairly smooth upper mids and neutral highs.
One of its great advantages lies in its very flat frequency spectrum. Additionally, thanks to proprietary technology from the brand, it is not subject to any proximity effect, making positioning easier.
A high-end dynamic microphone!
► See the current price at: Thomann Woodbrass Amazon
9. Royer R-101
Brand: Royer Labs
Type: Ribbon
Directivity: Figure-8
The R-101 is the little brother of the famous R-121, which is often talked about but whose price (over €1400 at the time of writing) seems to be a bit extreme for most home studios.
The R-101, half the price, is just as interesting. It uses partly the same technology and is itself an excellent ribbon microphone, particularly effective for recording electric guitars.
The sound has a vintage analog feeling, very natural with a fairly rounded response in the lower mids. It can be easily paired with an SM57 or an MD421 for more sound options.
► See the current price at: Thomann Woodbrass
Need a Bit of Gain?
In general, dynamic and ribbon microphones are less sensitive than condenser microphones.
You may therefore potentially need more gain to properly record your sounds.
The problem is that on most audio interfaces used in home studios, you will only have access to relatively low gain (50 dB in the case of a Focusrite Scarlett 2i2, for example).
If you find yourself in a situation where you are forced to push your preamps “to the max” (which would add noise), I recommend getting a Cloudlifter CL-1.
Simply put, it is a box that connects between the microphone and the audio interface, adding +25 decibels of gain while keeping background noise to a minimum.
Of course, depending on the dynamic or ribbon microphone and the power of the source you are recording, having a Cloudlifter may not always be necessary. That said, it is a really useful tool that will help you get the best sound from your microphones.
► See the current price at: Thomann Woodbrass Amazon
To Go Further…
There you go, you should now have a good overview of the best mics for mic’ing amps.
To go further, check out my complete file on methods for recording electric guitar.