The acoustic guitar is a beautiful instrument with the ability to express all sorts of colors and emotions. But it’s also limited by its small size and sound output. And the harmonics that make the acoustic guitar so rich and beautiful can create complications in the recording studio.
When recording acoustic guitar, your takes are only as good as the microphone you’re using. Not only that, but your microphone placement also makes a massive difference in the end product (not to mention your choice of guitar).
In today’s guide, we’re going to show you our top 11 picks for the best mic for acoustic guitar. These microphones will help you get the job done right. We’ll also cover the basics of microphone placement and setup for recording acoustic guitars, plus what to do if you’re rocking an acoustic-electric.
How to Record Acoustic Guitar — Ideal Microphone Placement and Setup
Before we get into our recommendations for the best mic for acoustic guitar, we need to talk about placement and setup. That’s because you could shell out thousands of bucks for the best mic for recording acoustic guitar that money can buy, and you still won’t get a satisfying sound if your placement is off.
There are quite a few techniques out there for microphone placement, and we won’t cover every single one in this guide. We’re just starting with the basics here. Once you master these setups, you can venture out into a wide world of more exotic setups. These are where you should start, though.
What Not to Do: Don’t Place the Microphone Right in Front of the Sound Hole
The most obvious and intuitive thing to do here would be to stick the microphone right in front of the soundhole, right? After all, that’s where the majority of the sound comes out of the guitar.
It may seem obvious and intuitive, but it’s totally wrong. If you’re not sure why, stick your ear directly in front of the soundhole and have someone strum a chord for you. Not very pleasant, is it?
There’s just so much sound coming out of that hole. Placing your microphone right in front is a great way to get a washed-out, muddled sound that’s dominated by low frequencies.
Ideal Basic Single-Mic Setup: 12 Inches from 12th Fret
The standard single microphone placement for recording acoustic guitar is around 12 inches, maybe a bit more, directly in front of the 12th fret of the guitar. This placement tends to give a great balance of brightness and body and tends to sound the most like what you would hear if you’re just sitting in a room playing in acoustic guitar.
In more complex setups with two microphones, you’ll usually have one of your two microphones in this spot.
Need More Bass? Move On Down
Acoustic guitars vary widely in terms of frequency response and presence. If the ideal placement leaves you feeling like you lost all the bass in the sound, try these positions instead. The same goes if you’re recording a smaller guitar (say, a parlor size) and there just isn’t much bass to start with.
First, try positioning your condenser mic in line with the soundhole but above it, closer up to your face. You’ll still want about 12 to 16 inches between the microphone in your instrument. You will get a better base response this way without it becoming overwhelming.
The obvious downside is the microphone being so close to your face. However, with a cardioid pickup pattern, you should get decent rejection from stray breath noises. Still, extraneous noises from the player are something to watch out for in this setup.
For another bass-friendly option, try placing the microphone on the low side of the instrument, below the bridge. You’ll definitely lose some of the highs in this setup, so consider the overall sound you’re going for.
Double the Mics, Double the Fun
Recording a stereo pair of microphones is another great strategy. You can angle a matched pair at the default spot (12 inches, 12th fret). Another option is to combine the above setups, with one microphone on the 12th fret and the other in one of the more bass-friendly locations.
When using two microphones, make sure they are both the same distance from the guitar. Otherwise, you’ll end up with tiny phasing issues in the mix.
One Mic or Two, and Which Types?
While recording with two microphones can potentially give you the best sound, there are all sorts of setups and complications to dual-miking your acoustic guitar. This is an area that can get pretty complicated pretty quickly. We’re intentionally not getting bogged down in the weeds here in this guide.
Suffice it to say, if you’re a beginner, you’ll likely have an easier time starting with a single-mic setup. And in that case, a large-diaphragm condenser microphone is likely your ideal choice.
But if you’ve maxed out your single-microphone setup and are still longing for more, then it’s probably time to consider trying a dual-mic setup. A pair of small-diaphragm condensers is the most common place to start, but really, the sky’s the limit here. Experiment as much as your taste and budget allow.
What About Acoustic-Electrics? Should I Use a Microphone or the Pickup?
One very common question from people who are just getting into recording guitar is what to do about an acoustic-electric model. It’s possible to record the DI signal from your guitar’s onboard pickup.
But, of course, you can also record acoustically using one of the microphone setups described previously. You could even point a microphone at an acoustic amp cab just like you would record a solid-body electric (though this last method is rarely used).
So what should you do?
The best answer is, why not both? It’s very simple to record your acoustic-electric’s DI output, and you’ll get a different sound profile that way. By recording the DI output and capturing the acoustic sound, you give yourself options to play with in the mix.
Worst case scenario, the DI track won’t be worth using, and you’ll simply delete it. But there are situations where that sound will be better than your miked sound, such as when you have a weak-sounding acoustic that you primarily use with an amp.
Oh, and if you’re recording in a noisy environment, plugging in direct is the only way to go.
By the way, to improve the sound you get from your acoustic-electric DI signal, consider picking up an acoustic-friendly pedal preamp. Sweetwater has several solid recommendations for this kind of pedal.
Top 11 Picks for Best Microphone for Recording Acoustic Guitar
Now that you know how to use and place your microphones and what to look for in the best microphone for acoustic guitar, let’s get to the reviews! Below are our top 11 recommendations for the best mic for acoustic guitar.
AKG Perception 170
At the risk of stating the obvious, if you’re looking to record a stereo pair, you will need two microphones. And if you’re buying two, you probably want to keep the price pretty reasonable. But there’s always that tension between quality and price.
AKG’s Perception 170 is a compelling choice for budget-minded stereo acoustic guitar recording. At under $100 apiece, you can pick up a pair of these for less than the cost of a single large-diaphragm microphone.
The Perception 170 is a cardioid pattern microphone that will capably record in X/Y stereo or in several other stereo patterns. The all-metal body is well built and will withstand bumps and bruises. You’ll get impressive quality and transient response, as is typical for small-diaphragm condensers.
The sound quality here is sufficient, not poor. But of course, you’ll get even more if you can spend a bit more.
Check the current prices on Amazon for the AKG Perception 170
Shure SM81 Small Diaphragm Condenser
If you’re looking for a midrange to upper midrange approach to stereo recording, the Shure SM81 is an impressive and widely adopted choice. At around $350 apiece, the SM81 doesn’t make the most affordable pair, but it does make an impressive one.
Notable here is the selectable low-frequency response. Choose between flat or a 6 or 18 dB octave roll-off, perfect for reducing unwanted bass tones that creep in from proximity effect.
Off-axis coloration is slight, with an impressive side frequency response for a cardioid microphone.
If you’re looking for an industry standard used by plenty of pros, and your budget allows it, the Shure SM81 ranks highly for the best mic for recording acoustic guitar in a stereo pair.
Check current prices on Amazon for the Shure SM81-LC Cardioid Condenser Instrument Microphone
Audio Technica ATM 450 Side Address Condenser
Most pencil-style condenser microphones must be pointed directly at the sound source to function properly. In a gigantic studio with all sorts of room, this is no big deal. But if your home studio is on the small side, it can be a little tricky to mount those mics in a way that works well acoustically and fits in your space without causing tripping hazards or constantly getting bumped into the wall.
A side address microphone remedies this problem by orienting the capsule differently so that sound gets picked up from the side of the microphone, not the head or front.
In this category, the Audio Technica ATM 450 is a reasonably priced midrange small-diaphragm choice. The microphone features an 80 Hz high-pass filter for selectable low-end roll-off, and it can handle a high SPL remarkably well. There’s also a 10 dB pad.
Aesthetically, honestly, the ATM 450 is a little ugly. It’s a little funny that they just stuck the word “FRONT” on the front since there was no better design cue. Sound quality is good, but certainly not top of its class.
In short, while the Audio Technica ATM 450 may not win a beauty contest, it’ll get the job done.
Aston Origin
We know, we know: if you’ve read any of our other microphone guides, you’ll think we forgot which one we’re writing. The Aston Origin was a top pick for us for vocal recording, but this impressive microphone deserves a mention for guitar as well.
The Aston Origin is an incredible all-around microphone of the large-diaphragm condenser variety. There’s hardly an application where the Origin doesn’t shine, and it will perform well for your acoustic guitar recording.
The microphone also has a truly fantastic aesthetic appeal, so it’s a great choice if you’re filming video in the studio, too.
The Aston Origin has a unique sound that’s adored by pro and at-home musicians alike, with a warm and forgiving tone that frequently beats top-of-class legacy microphones in blind tests. We love this microphone so much we gave it its own standalone review, so be sure to check out our Aston Origin Full Review to learn more.
Now, the Origin shines best of all on vocals. It won’t deliver quite the same level of brilliance on acoustic guitar, but it still delivers plenty well.
As a large-diaphragm condenser microphone, the Origin makes the most sense in a mono recording, positioned in one of the two single-mic placements described earlier. You can also experiment by pairing it with a small-diaphragm condenser, in which case you’d likely place the Origin lower down and the smaller mic up near the 14th fret.
Check current prices on Amazon for the Aston Origin Microphone
Aston Spirit
The Aston Spirit is the “big brother” to the Origin. It’s everything the Origin is, plus some. We won’t repeat ourselves here, so we’ll just cover the elements that set the Spirit apart.
First, it’s a multipattern microphone. While the cardioid pattern is the most common for mono miking an acoustic guitar, you might enjoy the flexibility of trying out figure-eight or even omni patterns in a stereo setup.
The other difference is the higher-end circuitry and internals that make the Spirit a true Pro microphone (yet in a midrange price tier). Aston reports that these differences give the Spirit all sorts of headroom and plenty of high-end harmonic shimmer. If you’re thinking that’s a good thing in terms of acoustic guitar recording, we agree.
In our full Aston Spirit review and our comparison of the Spirit and the Origin, we concluded that both were excellent for vocal applications. But when it comes to which is the best microphone for recording acoustic guitar, the Spirit is the clear winner.
Check current prices on Amazon for the Aston Spirit microphone
Rode NT4 X/Y Stereo Condenser Microphone
If you’re itching to get into stereo recording your acoustic guitar tracks but you’re nervous about all the technical hurdles, the Rode NT4 X/Y Stereo Condenser Microphone is a dream come true. This unusual microphone contains two small-diaphragm capsules prearranged in a perfect X/Y setup. With one microphone, you can capture a stereo field that sounds natural and real, with no concerns about phasing.
The Rode NT4 X/Y ships with its own custom cabling, including a five-pin stereo XLR cable as well as a dual three-pin XLR cable. As long as you have two standard XLR inputs with matching preamps, you can run this unusual microphone and create balanced, hassle-free stereo recordings.
The downside here is that the microphone is a one-trick pony, making it pretty situational. The X/Y setup is your only option with this one. If you want to experiment with other stereo setups later on, you’ll have to get two other microphones to do it.
Check current prices on Amazon for the Rode NT4 X/Y Stereo Condenser Microphone
Shure KSM141/SL Dual Pattern End-Address Condenser Studio Microphone
Having a true omnidirectional mic on hand is a luxury for most at-home studio musicians, mainly because the truly great ones tend to be prohibitively expensive. The Shure KSM141/SL is a dual pattern microphone that does omni right, but it manages to keep the price from shooting into the stratosphere.
The KSM141/SL operates in both omni and cardioid pickup patterns, which both have a role to play in various stereo microphone configurations. Notably, the switch between the two modes is mechanical, accomplished by twisting the ring just below the head.
This is a premium microphone with plenty of flexibility, including a three-position pad (-15 dB, -25 dB, 0 dB) and a three-position low-frequency filter as well. The transformerless preamp gives an even sound with quick transient response.
Neumann KM 184
The Neumann KM 184 is one of a few small-diaphragm condenser mics with performance so strong you’d swear you’re using a large-diaphragm microphone instead. In the KM 184, you get a pencil-style microphone with plenty of polish. It’s a cardioid microphone with transformerless circuitry and excellent SPL.
Sound response on the Neumann KM 184 is excellent, with a 7 dB boost at 10kHz, plus a natural bass roll-off. And, hey, it’s a Neumann, so you know the build quality is second to none.
The ideal use case for the Neumann KM 184 is as a matched pair. The cost here might be prohibitive for budget-conscious musicians. But there is a vast difference in quality between these and lower-cost alternatives like the AKG Perception 170 and the Shure SM81.
And as we mentioned earlier, the KM 184 is so strong as a small-diaphragm condenser that it rivals the sound of many large-diaphragm microphones. As such, you can get a pretty solid response even in single microphone setups.
Check current prices on Amazon for the Neumann KM 184
Audio-Technica AT4050
Here’s a conundrum. If you want to get the most out of your midrange budget, should you get a high-end model from an accessible brand or an entry-level model from a high-end brand? It’s a tough call without a clear answer in most cases. Often the more affordable brand is cramming in features while the higher-end brand is stripping them out. But there may be an overall difference in quality to consider as well.
The AT4050 is a prime example of a flagship model from an affordable brand, while the next model in this review (the Neumann TLM 102) is the opposite.
The AT4050 does offer a lot. It’s a multipattern microphone with cardioid, omni, and figure-eight. It has a tremendous frequency response and a deeply impressive max SPL (though that isn’t the most important metric for acoustic guitar recording, of course). Audio Technica has gone to the trouble of aging the gold-vaporized diaphragms, even.
Many reviewers praise the flat, neutral response of the AT4050. It picks up what’s in the room with very little embellishment, allowing you to capture exactly the sound you’re creating.
Of course, one engineer’s neutral is another’s bland, and that’s one potential con. If you’re looking for a microphone with loads of shimmer and body, this isn’t it. The Aston Spirit or the Neumann TLM 102 would be better choices for you.
Check current prices on Amazon for the Audio-Technica AT4050 Multi-Pattern Condenser Microphone
Neumann TLM 102
Like we discussed with the AT4050, there’s always a bit of a question in our minds about buying the cheapest model from a decidedly not cheap maker. Nevertheless, Neumann’s attempt at a budget-friendly large-diaphragm condenser microphone is worth taking a look at.
From a brand like Neumann, you can probably guess that “budget-friendly” doesn’t exactly mean cheap. But look at it this way: if you can get all that legendary quality and engineering in a slightly stripped down package that you can actually afford, maybe it’s worth paying a little more than budget pricing.
The Neumann TLM 102 is an excellent and pint-sized large-diaphragm condenser microphone, one that’s certainly near the top of the list for the best mic for acoustic guitar in the large-diaphragm category. The compact design will fit more easily into your setup than beefier condensers like the Spirit (or even the iconic Neumann U87).
Self noise is extremely low, as you should expect from a brand like Neumann. There’s a bit of a boost at 10 kHz, and while this is marketed as an enhancement for vocal use, it’ll improve harmonic shimmer for your acoustic guitar recording, too.
Like the Spirit and the Origin, the TLM 102 is going to sound great with just about any natural sound source (and even some amplified ones). That’s the beauty of higher-quality large-diaphragm condensers: the sensitivity is just right for, well, just about anything.
The Neumann TLM 102 performs well in a single-mic mono setup or as part of certain stereo configurations.
Check current prices on Amazon for the Neumann TLM 102
Royer Labs R-122 Active Ribbon Microphone
Ribbon microphones are in a class all their own. On the one hand, they can create some of the best recorded sounds of any microphone type. On the other, they can be fragile and finicky, a real challenge to use to their fullest potential. And we feel compelled to mention that they’re usually face-meltingly expensive.
In the R-122, Royer Labs seems to have solved at least one of these problems (and with a list price of $1795, you can probably guess which one).
The company has added phantom-powered circuitry, making the R-122 far simpler to use well than its predecessor, the R-121. But despite the addition of this active ribbon, the R-122 retains all those features that make ribbon microphones so excellent. These include a lack of distortion, low residual noise, and an element impervious to heat or humidity.
As with all ribbon mics, the R-122 features a figure-eight polar pattern, which can be a little tricky to get right with an acoustic guitar setup. But when you get the setup just right, the results can be breathtaking.
Check current prices on Amazon for the Royer Labs R-122 Active Ribbon Microphone
Final Thoughts
Finding the perfect setup for miking acoustic guitars is complex, something that many engineers spend years tinkering with. No matter your studio space and musical preferences, the above list includes some of the best microphones for recording acoustic guitar.
Whatever you choose, we hope that the end result is recorded guitar tracks that sound deeply satisfying to you — and your listeners and clients.
Is one of these microphones your go-to? Got any recommendations you think we missed? Let us know!