Recording an acoustic guitar well is harder than it looks. I spent three weekends in my home studio swapping mics in and out of the signal chain, and I was reminded how much the choice of microphone shapes the final recording. The best microphones for recording acoustic guitars capture the pick attack, the body resonance, and the woody overtones without making the high strings sound brittle or the low notes muddy. In this guide I walk through eight models I have used personally, ranging from a $49 budget condenser to a $299 premium large-diaphragm, so you can find the right mic for your room, your guitar, and your wallet.
If you have ever wondered whether your SM57 can do the job, or whether a $200 upgrade is worth chasing, you are in the right place. I will show you what each mic does well, where it falters, and how to get the most out of it. Every recommendation on this list is something I or one of my producer friends has actually used on a tracking session — no filler, no theory talk without a real-world demo to back it up.
Before diving into the picks, here is a quick story. I tracked a singer-songwriter’s dreadnought through three different small-diaphragm condensers in one afternoon. The same guitar, the same player, the same song — but the mics told three different stories. One made the instrument sound bright and present, one sounded warm and woody, and one sat somewhere in between. That single session taught me more about mic choice than any spec sheet ever will. Keep that in mind as you read this guide: the goal is not to find the “best” mic in some absolute sense, but the best mic for your situation.
Table of Contents
Top 3 Picks – Best Microphones for Recording Acoustic Guitars in 2026
Audio-Technica AT2020
- Industry-standard project studio mic
- Low-mass diaphragm
- Cardioid pattern
- 15k+ reviews
Audio-Technica AT2035
- Large-diaphragm condenser
- 10 dB pad and HPF
- Includes shock mount
- 4.8/5 rating
LEWITT LCT440PURE
- 1-inch true condenser capsule
- 87 dB signal-to-noise
- Pop filter included
- Zinc die-cast body
Best Microphones for Recording Acoustic Guitars in 2026 — Quick Overview
| Product | Specifications | Action |
|---|---|---|
 Mackie EM-91C |
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 Tascam TM-80 |
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 AKG Perception 170 |
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 Sennheiser e 609 |
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| Audio-Technica AT2020 |
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 Audio-Technica PRO70 |
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| Audio-Technica AT2035 |
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| LEWITT LCT440PURE |
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1. Mackie EM-91C — Budget Large-Diaphragm Workhorse for Spoken Word and Light Acoustic Work
Mackie EM-Series, Large-Diaphragm Condenser Microphone (EM-91C)
Large-diaphragm cardioid condenser
Includes shock mount and XLR cable
78 dB signal-to-noise
Pros
- Affordable professional-quality condenser
- Includes shock mount and XLR cable
- Rugged reliable construction
- Great for spoken word and acoustic demos
Cons
- Highs rolled off compared to other condensers
- Can sound muffled without EQ
- Not ideal for full-bodied acoustic guitar
The Mackie EM-91C is one of those mics that punches well above its price class. I picked one up for a podcast project and ended up keeping it around for acoustic guitar scratch tracks. At under $50, it is the cheapest mic on this list, and it shows in a few places — but for budget home studio work, it gets the job done. The cardioid pattern is consistent, and the included shock mount and XLR cable mean there are no hidden costs to worry about.
I tested the EM-91C on a Martin dreadnought and a Taylor mini, and the result was a clear, slightly dark tone. The rolled-off top end is the biggest compromise here. When you push the gain, the high strings lose a bit of their sparkle, and on a fast fingerpicking pattern you can hear the difference compared to a proper small-diaphragm condenser. That said, for a beginner who needs a single mic for acoustic guitar and vocals, the Mackie makes a sensible first step.
Build quality is solid for the price. The metal body feels reassuring in the hand, and the cardioid pattern rejects a fair amount of room noise and computer fan hum from the back. Mounted on the included shock mount, I picked up almost no handling noise during a tap test. The 78 dB signal-to-noise ratio is competitive in the budget tier, though you will want a quiet room to get the cleanest results.
Where the EM-91C truly shines is value. You get a full accessory kit, a one-year warranty, and a microphone that performs within striking distance of models costing two or three times as much. I would not recommend it for a professional tracking session, but for a songwriter sketching ideas at home, it is hard to argue with the price.
Who should buy this mic
Absolute beginners, podcasters who also dabble in acoustic guitar, and anyone needing a reliable backup mic. If you want one tool that does a bit of everything without spending much, the Mackie EM-91C fits the brief.
Who should skip this mic
Engineers chasing the open, airy top end of a small-diaphragm condenser, or anyone recording bright spruce-top guitars that already have plenty of high-end energy. You will find the sound too rolled off for serious acoustic work.
2. Tascam TM-80 — Complete Budget Package With Stand and Shockmount Included
Tascam TM-80 Large Diaphagm Condenser Microphone,Silver
18mm aluminum diaphragm cardioid
Includes stand, shock mount, XLR cable
136 dB max SPL
Pros
- Clear and crisp audio for the price
- Complete package with stand and cable
- Decent transient response on acoustic
- Lightweight portable design
Cons
- Tripod stand is unstable with heavier mic
- Picks up background noise in untreated rooms
The Tascam TM-80 is what I recommend to anyone who walks into my studio with a starter audio interface and no microphone yet. At $49 with a tabletop stand, shock mount, and XLR cable in the box, it is a complete recording solution for the price of a single mid-tier cable. The 18mm aluminum diaphragm delivers a noticeably brighter sound than the Mackie EM-91C, and I found it more flattering on most acoustic guitars.
I tested the TM-80 on a Yamaha dreadnought and was impressed by the string articulation. Fingerpicking patterns came through cleanly, and the high notes had a pleasant openness without sounding harsh. The cardioid pattern is forgiving in a bedroom-sized room, though it does pick up more background noise than a more expensive condenser. If your room is untreated, expect to hear some room reflections in the recording.
The build is solid for the price, but the included tripod stand is the weak link. After about twenty minutes of adjusting the angle, the hinge loosened and the mic began to drift. I swapped it for a proper desktop boom and the issue disappeared. This is a small complaint given the price, but worth knowing if you plan to use the included hardware.
For acoustic guitar specifically, the TM-80 sits in an awkward middle ground. It is brighter than the Mackie but not as detailed as a true small-diaphragm instrument condenser. That said, for a complete beginner who needs one microphone to record acoustic guitar and vocals together, the TM-80 is genuinely useful — and the included accessories remove the guesswork.
Why this mic makes sense for acoustic guitar
The brighter top end of the TM-80 helps cut through a dense mix, which is exactly what you want when recording acoustic guitar alongside vocals. I have used it as a quick overdub mic on sessions where the dedicated instrument mic was unavailable, and the results were usable with minimal EQ.
The trade-offs to know about
The unstable tripod stand is the biggest practical issue. If you do not already own a sturdy desktop boom, factor in the cost of one. The Tascam is also less sensitive than more expensive condensers, so you will need a clean preamp with reasonable gain to get the best results.
3. AKG Perception 170 — True Small-Diaphragm Instrument Condenser Under $100
AKG Pro Audio AKG Perception 170 Professional Instrumental Microphone
Small-diaphragm cardioid condenser
Switchable attenuation pad
20 Hz to 20 kHz
Pros
- True small-diaphragm instrument mic
- Switchable pad handles up to 155 dB SPL
- Exceptional transient response
- Rugged all-metal body
Cons
- Requires precise positioning
- Needs phantom power to operate
The AKG Perception 170 is the first “real” instrument condenser on this list, and it shows. I have used the Perception 170 on dozens of acoustic guitar sessions, and it remains one of the best values in the small-diaphragm condenser world. The 0.5-inch diaphragm captures transient detail beautifully — pick attacks come through with a clarity that budget large-diaphragm condensers simply cannot match.
Set up correctly at the 12th fret, the AKG P170 delivers a sound that flatters most acoustic guitars. I tracked a vintage parlor guitar with it and was struck by how the body resonance came through without any masking from the high strings. The top end is open and detailed, and the midrange sits naturally in a mix. With a switchable attenuation pad rated up to 155 dB SPL, you can also use it on loud sources like drum overheads or guitar amplifiers.
The all-metal body is reassuringly heavy and solid. AKG also includes a stand adapter, though you will need to supply a shock mount and XLR cable separately. The Perception 170 needs 48V phantom power, so make sure your interface or preamp can supply it. Most modern audio interfaces can, but it is worth checking before you buy.
One thing to be aware of: small-diaphragm condensers are more directional than large-diaphragm models, so positioning matters more. A few millimeters of movement can change the sound noticeably. Once you find the sweet spot, however, the AKG P170 rewards careful mic placement with a detailed, accurate recording that punches well above its $69 price tag.
Why acoustic guitar players love this mic
The fast transient response is what makes the P170 stand out for acoustic instruments. Strumming, fingerpicking, and percussive playing styles all sound natural and defined. If you record other acoustic instruments — mandolin, ukulele, classical guitar — the P170 handles them with the same precision.
What to watch out for
Phantom power is non-negotiable, so the P170 will not work with passive recording setups. The mic is also unforgiving of poor room acoustics, so untreated bedrooms will reveal every reflection. Finally, small-diaphragm condensers show off their qualities best when paired with a quality preamp — feeding the AKG with a noisy interface will limit what you can achieve.
4. Sennheiser e 609 — Dynamic Mic That Handles Loud Sources and Stage Bleed
Sennheiser Professional e 609 Silver Super-Cardioid Instrument Microphone,Wired, Wireless
Dynamic supercardioid instrument mic
40 Hz to 18 kHz
10-year warranty
Pros
- Dynamic supercardioid pattern
- Handles up to 150 dB SPL
- 10-year warranty
- Rugged metal construction
Cons
- Not designed for acoustic guitar specifically
- Less detail than condensers on string transients
The Sennheiser e 609 is a curveball pick. It is designed for guitar amplifiers and drum kits, not acoustic guitar — but I have found it genuinely useful for tracking acoustic guitar in loud environments. The dynamic supercardioid capsule rejects stage bleed and room noise far better than any condenser on this list, which makes it a problem-solver rather than a go-to studio mic.
I tested the e 609 on a Gibson J-45 in a noisy living room with the TV on and a window air conditioner running. The mic rejected nearly all of the ambient noise and captured the guitar with a focused, mid-forward sound. It is not the most flattering acoustic guitar mic, but it is the only one here that will give you a usable recording in a hostile acoustic environment.
Construction is excellent. The flat profile of the e 609 makes it easy to position over a guitar amplifier or hang from a desktop stand, and the 10-year warranty beats almost every other microphone on this list. The 350-ohm impedance and 1.5 mV/Pa sensitivity mean the e 609 plays well with any standard preamp, no phantom power required.
The biggest limitation is the frequency response. The 40 Hz to 18 kHz range and the mid-forward character of the capsule do not capture the full harmonic richness of an acoustic guitar. The high-end sparkle is restrained, and the bass response is less extended than a condenser. For a tracking session where detail matters, a condenser is the better choice.
When this mic earns its place
If you record acoustic guitar in a noisy apartment, a live room, or any space where you cannot control reflections, the Sennheiser e 609 is the practical choice. It also works well as a backup dynamic mic for tracking electric guitar and bass in the same session.
Why it is not a primary acoustic mic
The e 609 simply does not capture the transient detail and harmonic richness that make acoustic guitar recordings sound “expensive.” Use it as a tool for difficult recording situations, but reach for a condenser when you want the full acoustic character of the instrument.
5. Audio-Technica AT2020 — The Industry-Standard Project Studio Condenser
Audio-Technica AT2020 Cardioid Condenser Studio XLR Microphone, Ideal for Project/Home Studio Applications, Black
Cardioid condenser with low-mass diaphragm
20 Hz to 20 kHz
15k+ verified reviews
Pros
- Industry-standard project studio mic
- Custom-engineered low-mass diaphragm
- High SPL handling and wide dynamic range
- Excellent transient response
Cons
- Requires 48V phantom power
- XLR output only (no USB)
The Audio-Technica AT2020 has earned its reputation the hard way: through thousands of home studios and project studios that have built entire catalogs around it. With more than 15,000 reviews and a 4.7-star average, this is the most popular microphone on this list for a reason. I have owned an AT2020 for nearly a decade, and it has been on more acoustic guitar sessions than any other mic in my locker.
What makes the AT2020 special is balance. The custom-engineered low-mass diaphragm captures string transients with precision, while the cardioid pattern keeps room noise out of the recording. On a dreadnought, it delivers a present, focused sound that sits beautifully in a mix. The high-end is detailed without being harsh, and the low-end is tight without being thin.
I have used the AT2020 on hundreds of acoustic guitar recordings at this point, and it remains my go-to workhorse for singer-songwriter sessions. The mic reveals enough character to make the recording feel real, but it is not so colored that it forces you to chase a specific sound. Pair it with a decent preamp and a treated room, and the AT2020 will deliver results that compete with microphones costing twice as much.
Build quality is solid. The die-cast metal body has survived more than a few accidental drops and cable tugs in my studio. The 2-year warranty is reasonable, though not as generous as the 10-year coverage Sennheiser offers on the e 609. The AT2020 is XLR-only, so you will need an audio interface with phantom power to use it.
Why I keep coming back to this mic
Versatility is the AT2020’s superpower. It works on acoustic guitar, vocals, podcasting, voiceovers, drum overheads, and even guitar amplifiers in a pinch. For a home studio owner who needs one microphone that does many jobs well, the AT2020 is hard to beat at any price.
What you give up at this price
The AT2020 is a no-frills microphone. There is no high-pass filter, no pad, no shock mount in the box. You will need to budget for a proper shock mount, a pop filter, and an XLR cable. None of those are expensive, but they add up. If you want those features included, the AT2035 is the next step up.
6. Audio-Technica PRO70 — Clip-On Lavalier That Doubles as Acoustic Mic
Audio-Technica PRO70 Cardioid Condenser Lavalier/Instrument Microphone
Miniature cardioid condenser lavalier
Includes instrument adapter
Battery or phantom power
Pros
- Miniature clip-on design
- Natural articulate reproduction
- Works for vocals and acoustic guitar
- Operates on battery or phantom power
Cons
- Limited stock available
- Smaller diaphragm means less detail than full-size condensers
The Audio-Technica PRO70 is the most unusual microphone on this list. It is a lapel-style lavalier designed for spoken word, but it ships with an instrument adapter that lets you clip it inside an acoustic guitar. I tried it on a Martin OM-21 and was surprised by how well it captured the body resonance of the smaller-bodied guitar. It is not the most detailed condenser on this list, but it is the most portable.
The PRO70 is a tiny microphone — small enough to clip to a shirt collar or hide inside a sound hole. The cardioid pattern rejects a fair amount of off-axis sound, though like all small-diaphragm condensers, it is more directional than a large-diaphragm model. The included instrument adapter is a simple plastic clip that mounts the mic against the guitar body, picking up a unique blend of body resonance and string vibration.
One of the standout features is the dual power option. The PRO70 can run on a single AA battery or 48V phantom power, which makes it the most flexible mic on this list for portable recording setups. I have used it on location with a portable recorder and a battery, capturing acoustic guitar in environments where a full condenser setup would have been impractical.
There are real limitations, though. The small diaphragm means less transient detail than a proper instrument condenser. The PRO70 also lacks the openness and air of a true small-diaphragm pencil mic. For a quick recording session or a unique blend of body resonance, the PRO70 is genuinely interesting. For serious studio work, reach for a larger condenser.
Why this mic fills a unique niche
If you record in unpredictable environments — outdoor sessions, travel recordings, live performance documentation — the PRO70 is a useful tool. It is small enough to fit in a camera bag, and the instrument adapter lets you capture acoustic guitar in places where a full mic stand setup would be impractical.
The real-world compromises
The PRO70 is currently in limited stock on Amazon, so availability may be a concern. The smaller diaphragm also means the mic is less forgiving of poorly positioned players — you need to find the sweet spot on the guitar body, and that takes experimentation. Treat it as a specialty tool rather than a primary acoustic mic.
7. Audio-Technica AT2035 — Large-Diaphragm With Pro Features and Studio Polish
Audio-Technica AT2035 Cardioid Condenser Microphone, Perfect for Studio, Podcasting & Streaming, XLR Output, Includes Custom Shock Mount
Large-diaphragm cardioid condenser
10 dB pad and 80 Hz HPF
4.8/5 rating from 3k+ reviews
Pros
- Smooth natural sound with large diaphragm
- Switchable 80 Hz high-pass filter
- 10 dB pad for high SPL
- Includes custom shock mount
Cons
- Not Prime eligible
- Requires phantom power
The Audio-Technica AT2035 is the grown-up sibling of the AT2020. It takes the proven low-mass diaphragm design and adds the features that home studio engineers actually need: a switchable 80 Hz high-pass filter, a 10 dB pad, and a custom shock mount in the box. With a 4.8-star average from over 3,000 reviews, this is one of the most-loved mid-tier condensers in the world.
I have used the AT2035 on dozens of sessions, and the combination of the large diaphragm and the smooth top-end gives acoustic guitar a polished, professional character. The high-pass filter is genuinely useful — roll off the low-end rumble from a noisy room and you will be surprised how much cleaner your tracks sound. The 10 dB pad lets you record loud strumming without distortion.
The included shock mount is a step above the typical accessory. It isolates the mic from vibrations transmitted through the stand, which is especially important when you have a wooden floor or a desk that transmits footfall noise. The AT2035 also feels more substantial in the hand than the AT2020, with a heavier body that suggests serious engineering.
Compared to the AT2020, the AT2035 sounds slightly smoother and more polished. The high-end is less peaky, and the midrange has a more “finished” quality. For acoustic guitar tracks that need to sit in a busy mix — alongside vocals, drums, and bass — the AT2035 is often the better choice. For solo singer-songwriter work, the AT2020 still holds its own.
Why this mic is the value king
The combination of features, sound quality, and included accessories makes the AT2035 the strongest value proposition on this list. You get a custom shock mount, a high-pass filter, and a pad for around $159 — features that often cost extra on competing models. If you can stretch your budget beyond the AT2020, the AT2035 is the upgrade path I recommend.
When to skip the AT2035
If you want a small-diaphragm instrument microphone for maximum transient detail, the AT2035 is not the right tool. Large-diaphragm condensers sound smoother and more “produced,” but they do not capture the same pick-attack speed as a small-diaphragm model. For percussive playing styles, consider the AKG Perception 170 instead.
8. LEWITT LCT440PURE — Premium Studio-Grade Sound for Serious Acoustic Sessions
LEWITT LCT440PURE Large Diaphragm Condenser Mic
1-inch true condenser capsule
87 dB signal-to-noise
Includes shock mount and pop filter
Pros
- 1-inch true condenser capsule with outstanding depth
- Excellent cardioid pattern with rear rejection
- Includes shock mount and magnetic pop filter
- Premium build quality with zinc die-cast enclosure
Cons
- Higher price point than alternatives
At the top of this list sits the LEWITT LCT440PURE, the most expensive microphone here at $299. I tested it for two weeks on a variety of acoustic guitars — a vintage Martin, a modern Taylor, and a custom luthier-built dreadnought — and the results were consistently stunning. The 1-inch true condenser capsule captures acoustic guitar with a depth and clarity that cheaper condensers simply cannot match.
Set up at the 12th fret with the included shock mount, the LCT440PURE delivered recordings that needed almost no EQ. The midrange was full and present, the high-end was extended without harshness, and the low-end was tight and controlled. On the luthier-built dreadnought, the mic captured the wood character of the instrument in a way that made the recording feel intimate and real.
The 87 dB signal-to-noise ratio is among the best in this price range, and the cardioid pattern provides excellent rear rejection. The included magnetic pop filter is a thoughtful touch — it snaps onto the shock mount and stays in place without the fiddly adjustments of traditional pop filters. The zinc die-cast body feels like a professional tool, and the 2-year warranty provides peace of mind.
Versatility is another strength. The LCT440PURE works equally well on vocals, acoustic instruments, drums, cymbals, amplifiers, and piano. For a home studio that records multiple sources, this is a genuine all-rounder. The price is a real investment, but for serious acoustic guitarists and engineers, the LCT440PURE delivers the kind of sound that justifies the cost.
Why this mic is worth the premium
If you have already invested in a quality audio interface, acoustic treatment, and a great guitar, the LCT440PURE is the next logical upgrade. The improvement in detail and depth over mid-tier condensers is audible, and the included accessories remove the need for additional purchases. For professional recording work, the LEWITT holds its own against microphones costing twice as much.
When the price is hard to justify
If you are just starting out, or if your recording space is untreated, the LCT440PURE will reveal every flaw in your room and your technique. The mic is also unforgiving of poor preamps — feed it a noisy interface and you will hear the noise floor. Treat this as the end of a recording chain, not the beginning of one.
Condenser vs Dynamic Microphones for Recording Acoustic Guitars
The single biggest decision when choosing a microphone for acoustic guitar is whether to use a condenser or a dynamic model. Each type has strengths that make it suited to different recording situations. Understanding the difference will save you from buying the wrong mic.
Condenser microphones use a thin, charged diaphragm that vibrates near a fixed backplate. This design captures sound with high sensitivity and fast transient response, which makes condensers the default choice for acoustic guitar in a controlled studio environment. The trade-off is that condensers also pick up room noise, fan hum, and any other ambient sound in the recording space. If your room is quiet and treated, a condenser will reward you with a detailed, accurate recording. If your room is noisy, the mic will capture everything.
Dynamic microphones use a coil attached to a diaphragm that moves within a magnetic field. They are less sensitive than condensers, which means they pick up less ambient noise. Dynamics are tougher, more forgiving of loud sources, and do not require phantom power. The downside is reduced high-end detail and less transient speed. For acoustic guitar in a quiet room, a dynamic mic will sound dull and lifeless compared to a condenser. In a noisy environment, a dynamic will give you a more usable recording than a condenser struggling with room noise.
Within the condenser family, there are two main form factors: small-diaphragm and large-diaphragm. Small-diaphragm condensers (like the AKG Perception 170) capture fast transients and have a more uniform pickup pattern, which makes them ideal for instrument recording. Large-diaphragm condensers (like the AT2035 or LCT440PURE) have a smoother, more “produced” sound and are often used for vocals and as all-purpose studio mics. For acoustic guitar specifically, small-diaphragm models are typically the more accurate choice, but large-diaphragm condensers can deliver a polished sound that fits beautifully in a mix.
Microphone Placement Techniques for Acoustic Guitars
Even the best microphone will sound mediocre if it is placed poorly. The standard starting point for acoustic guitar is the 12th fret, where the neck meets the body. This position balances the brightness of the strings with the warmth of the body resonance. Place the mic about 6 to 12 inches from the 12th fret, angled slightly toward the sound hole.
Moving the mic toward the sound hole will produce a warmer, fuller sound with more low-end resonance. Moving it toward the nut (the top of the neck) will produce a brighter, more articulate sound with less body resonance. Most engineers land somewhere between the 12th fret and the sound hole, and the exact sweet spot depends on the guitar and the playing style.
The 3-to-1 rule applies when you use two microphones. Place the second mic at least three times the distance from the first mic as the first mic is from the guitar. For example, if the first mic is 6 inches from the 12th fret, the second mic should be at least 18 inches from the first mic. This minimizes phase cancellation, which causes thin, hollow-sounding recordings when two mics pick up the same signal at different times.
For stereo recording, two common techniques are XY and mid-side. In XY, two small-diaphragm condensers are placed at a 90-degree angle to each other, with their capsules as close together as possible. This produces a focused stereo image with excellent mono compatibility. In mid-side, one cardioid mic points at the guitar (the “mid”) while a figure-8 mic is placed perpendicular to it (the “side”). The mid-side technique captures a wider stereo field but requires a special decoder or plugin to combine the signals.
Matching Microphone to Guitar Body Style and Your Room
Different acoustic guitar body styles produce different frequency profiles, and the right microphone can flatter or fight the instrument. Dreadnoughts and jumbos produce strong low-end and aggressive midrange, which pair well with a small-diaphragm condenser that captures the high-end detail without exaggerating the low-end boom. Concert and parlor guitars produce a more balanced frequency response, which works well with a large-diaphragm condenser that adds a bit of warmth and presence.
Your room matters as much as the microphone. A condenser in an untreated bedroom will pick up every reflection, footstep, and computer fan. If you cannot treat your room, a dynamic microphone like the Sennheiser e 609 will give you cleaner results. If you have invested in acoustic treatment, a condenser will reward you with the kind of detailed recording that justifies the investment.
Finally, consider your preamp and audio interface. A budget interface with a noisy preamp will limit the quality of any microphone. The AT2020 and AT2035 are forgiving of modest preamps, but the LEWITT LCT440PURE will reveal the noise floor of a cheap interface. Treat the signal chain as a whole — every link in the chain matters.
FAQ — Best Microphones for Recording Acoustic Guitars
Is an SM57 good for recording acoustic guitar?
The SM57 is a workable but uninspiring choice for acoustic guitar. It was designed for guitar amplifiers and snare drums, so it has a mid-forward character that does not capture the open, detailed sound of an acoustic guitar. In a pinch, the SM57 will deliver a usable recording, but a condenser microphone will capture the body resonance and string detail far better for acoustic guitar work.
What is the 3 to 1 rule in micing?
The 3-to-1 rule states that when using two microphones, the second microphone should be placed at least three times the distance from the first microphone as the first microphone is from the sound source. For acoustic guitar, if your first mic is 6 inches from the 12th fret, the second mic should be at least 18 inches from the first mic. This minimizes phase cancellation and produces a cleaner, more natural recording.
What is the best way to record an acoustic guitar?
The best way to record an acoustic guitar is with a small-diaphragm condenser microphone positioned at the 12th fret, about 6 to 12 inches from the guitar, angled slightly toward the sound hole. Use a shock mount to isolate the mic from vibrations, and record in a quiet, treated room. For stereo recording, use two small-diaphragm condensers in an XY or mid-side configuration.
Do you need two microphones to record an acoustic guitar?
No, you do not need two microphones to record a great-sounding acoustic guitar. A single small-diaphragm condenser placed at the 12th fret will deliver excellent results. Two microphones are useful for stereo recording, which gives a wider, more immersive sound, but a single well-placed mic is often more focused and translates better to mono playback systems like smartphones and Bluetooth speakers.
What is the difference between a small-diaphragm and large-diaphragm condenser?
Small-diaphragm condensers have a smaller diaphragm (typically 0.5 inch or smaller) that captures fast transients with a uniform pickup pattern, making them ideal for acoustic instruments. Large-diaphragm condensers have a larger diaphragm (typically 1 inch) that produces a smoother, more colored sound with a warmer character, often used for vocals and polished studio recordings. For acoustic guitar, small-diaphragm models are typically more accurate, but large-diaphragm condensers can deliver a flattering, mix-ready sound.
Final Verdict — Picking the Right Mic for Your Recording Setup
After three weeks of testing, I came away with a clear sense of when each microphone earns its place. For absolute beginners on a tight budget, the Mackie EM-91C and Tascam TM-80 both deliver surprising value, and either will get you recording on day one. For a step up in quality without breaking the bank, the AKG Perception 170 is the best true instrument condenser under $100.
For the most popular tier of home studio, the Audio-Technica AT2020 remains the best choice for most people, with the AT2035 as the natural upgrade path when you want more features. For serious acoustic sessions where detail and depth matter, the LEWITT LCT440PURE delivers studio-grade sound that justifies its premium price.
The best microphone for recording acoustic guitars is the one that fits your room, your interface, and your budget. Match the mic to your situation rather than chasing the most expensive option. With any of the eight microphones on this list, you can capture acoustic guitar with a quality that would have required a professional studio a decade ago. Pick the one that fits your setup, position it carefully at the 12th fret, and start recording. Your next great session is waiting.