Sometimes miking an amp can be a shock realisation. Guitar sound is a combination of your hands, the guitar, the pedals, the amp, and speaker, but one of the most drastic changes in tone comes from the few millimetres of air where the end of your microphone is sitting. We'll go into more detail, but moving a microphone less than 10cm and radically transform the recorded tone of your guitar.
You don't need to splash out on the microphone you're using either, hundreds of great guitar recordings have thousands of pounds worth of guitar equipment all captured by a £100 Shure SM57.
When it comes to recording guitar with a microphone, the possibilities are endless and picking a microphone is as much a part of the process as picking where to put the microphone. Really, any microphone will do, the distance your microphone is from the cone, from the centre, whether it's on or off axis all have, arguably, more effect on the tone than the specific microphone.
However, there are some microphones popular among engineers for miking guitar cabinets, these are usually based on the guitar sound you're going for, and often are combined so you can mix the perfect balance later.
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For close miked sound guitar sounds, frequently you'll see engineers use dynamic microphones, you can also blend this with a ribbon mic, also close.
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For a slightly more open sound, you can back the microphones off a bit. In theory, you could use condenser, ribbon or dynamic mics. But if you're recording at home, you might not be able to turn your amp loud enough to get enough signal into a dynamic microphone.
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Recording the sound of the amp in the room is a task best reserved for condenser and ribbon microphones. Keeping the microphones far away from the speaker can give you a more ambient sound, but you need to be certain of the natural reverb of your room. Another option is to close mic and add reverb in your DAW when you're mixing your track.
Once you’ve chosen a microphone that suits your tone, it’s time to position it. Small changes in placement can make a big difference to your sound the next section teaches you how to get the most out of your mic placement.
Without going into too much detail, dynamic microphones involve a diaphragm to pick up the vibrations in the air attached to a magnet. The magnet is what makes dynamic microphones unique in this list, and makes the diaphragm heavy and not very sensitive to sound.
The result is a sound that's often limited in high frequency content, able to cope with loud sounds, and with less variation between the quiet and loud parts of the sound, slight compression. For recording electric guitars in a lot of genres, these are a lot of the steps you'd take in mixing anyway. This makes dynamic microphones the perfect microphone for close-miking a lot of rock and pop guitar sounds, or for mixes where guitars are one of many elements in a mix and the guitar needs to sit in its space.
Dynamic mic examples:
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Shure SM57 – A widely used microphone for guitar recording. Its frequency response emphasises key midrange tones while rolling off some low frequencies, making it a solid and reliable choice for electric guitars. You can also use a Shure SM58 if you've only got one of those to hand.
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Sennheiser MD421 – Captures more low-end than the SM57, making it well-suited for heavier tones, drop tunings, and baritone guitars. Its wider frequency response can provide a fuller, more detailed sound.
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Sennheiser e609 – Designed for close-miking guitar cabs, its flat shape allows it to hang over the speaker without a stand. It captures more detail in the mids and highs than the SM57 and has better off-axis rejection, helping to minimise bleed when recording alongside other instruments.
Condenser, also known as capacitor, microphones are the traditional studio microphone you think of. They're designed to be very sensitive and pickup everything from the quietest sounds to the loudest, and have a flat frequency response even in the high-frequency range.
This sensitivity and wide frequency response makes them perfect for capturing detailed guitars sounds that need to fill a mix. For example, when you don't have many other instruments, or you have a clean/slightly crunchy guitar sound. They're less suitable on distorted guitars, as the mics' sensitivity to high frequency content can make the harmonic content of the distortion sound fizzy or harsh.
Condenser mic examples:
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AKG C414 – A versatile microphone, often used to capture the full frequency range of clean and lightly overdriven tones. For a slightly more budget-friendly option, consider AKG's C214.
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Neumann TLM 102/103 – These mics provide a detailed, smooth top end that works well on clean tone, edge-of-breakup, and lead sounds as they have a smooth high end with clarity. Alternatives include the Lewitt LCT 440 PURE and the SE 2200A
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Audio-Technica AT4050 – Another versatile mic that captures more depth and detail than a typical dynamic mic when you use it for cleaner sounds, slightly further from your amp.
Ribbon microphones are great for recording electric guitars because they offer a warm, smooth sound and naturally tame harsh high frequencies. They work on both distorted and clean sounds. You'll typically see them paired up with a dynamic microphone, both close miked.
The way ribbon microphones work means they pick up sound in a figure-of-eight pattern, equally from both the front and back. Make sure there's nothing directly behind the microphone when you're recording, e.g. another amp or a drum kit, otherwise you might hear a lot of bleed into your guitar mic.
Ribbon mic examples:
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SE Electronics Voodoo VR1/VR2 or X1R – These mics have a classic darker ribbon mic sound but with a detailed high end, perfect for modern guitar recording.
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Royer R-10 or R-121 – If you're using amp sims or watching any sessions from the last 30 years, it's likely you'll see the Royer R-121 combined with the SM57 to balanced warmth and detail. The Royer R-10 is a more cost-effective version.
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Coles 4038 - As ribbons go, this is one of the pinnacles. It's been around since the 50s, and it's dark sound helps smooth out guitar tones.
Once you’ve chosen a microphone that suits your tone, it’s time to position it. Small changes in placement can make a big difference to your sound the next section teaches you how to get the most out of your mic placement.
There are numerous ways to mic your amp, once you've got your mic the first step is positioning the mic, but then you need to work out if the tone your getting is right for you.
When you come to mic your amp, make sure you're miking your speaker. Most speakers are behind a grille for protection, use a phone torch to look through the grille and find the speaker.
Where you position your mic can change drastically.
There are a few microphone-positions to learn.
Middle or edge? If you position the mic at the middle of the speaker, the sound is brighter. As you move toward the edge of the speaker cone, the sound gets darker. Remember there aren't just two positions, as you move from the middle to the edge the tone constantly changes, move it step-by-step to figure out which position works best.
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Centre of the speaker |
Edge of the speaker |
Close or far? As you move your microphone away from the speaker, two things happen:
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You get less direct sound and more room sound, this is good if you want room ambiance, or you want your guitars to sit further back in your mix.
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The bass response drops the further you are from the speaker. When your mic is within a few centimetres of a source, the bass response gets increased by something called the “proximity effect”.
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Close mic |
Far mic |
On or off axis means changing the angle of the microphone. On/off axis aren't two positions, experiment with all the angles in-between to figure out what works best. Remember, the sound still comes from the speaker parallel to the front panel, so you're not suddenly picking up sound from the other side of the cone. Even if it seems like the mic is parallel with the slanted speaker cone.
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On-axis - the mic is pointing straight at the source |
Off-axis - the mic is pointing not directly at the source. |
As you move your mic further back, the middle or edge position and on/off axis becomes less important as the sound spreads out the further it gets from your amp, but you can experiment to find the best sound.
Choosing the best position for you can be a combination of many of the above. Maybe imagine how you want your guitar to sound and begin in that position, then slowly tweak the position to figure out what works best for you.
Plug one end of an XLR cable into your microphone and the other into one of the XLR inputs on your Focusrite interface. Condenser microphones need phantom power (often labelled +48V) — if so, make sure to switch it on after connecting the mic.
Careful gain staging is essential to get a clean recording, you're aiming for between -12dB and -18dB in your DAW. Use the Gain dial next to the input you’ve used to adjust your input level. Speak or sing at your loudest expected volume while watching the input meter. On most Focusrite interfaces, the halo ring around the Gain dial lights up to show your level:
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Green – Good signal
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Amber – Getting hot
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Red – Too high: distortion is likely
If it flashes red, turn the dial down until the light stays green during your loudest parts. Pay close attention to the meters to avoid distortion — and always check your levels before you hit record.
Scarlett 4th Gen interfaces also include an Auto Gain feature, helps set your input level for you. If available, press the Auto Gain button and playing guitar for a few seconds while the interface listens and adjusts the level automatically. It’s a quick way to get a solid starting point, especially if you’re unsure where to set the Gain dial manually.
Getting a clean signal into your interface is only half the story — now it’s time to shape the actual sound. Whether you're after a warm blues tone, crisp funk rhythm, or something heavy and distorted, there are lots of small choices that add up to a big difference. From your guitar and amp settings to mic placement and room acoustics, this section will help you find the tone that feels right — and make sure it translates well to your recordings.
Shape your sound
Your tone starts with your instrument. If you can, try different guitars and switching pickups to see what suits the sound you’re after. Use the tone and volume controls on your guitar to make subtle adjustments — even small changes can have a big effect. If you’re using pedals, experiment with different settings or combinations to shape your tone before it reaches the amp.
Dialling in your amp settings is part of the fun. Take time to adjust gain, EQ, and volume to find the sweet spot. What sounds great in the room might not always sound great on a recording — trust your ears, but don’t be afraid to tweak.
Note
Try not to use guitar tones from famous recordings to shape your sound too much yet. When you listen to a finished song, the guitar tone is often a combination of double-tracking, layered guitars, compression, EQ, and the bass filling out the low end.
Guitars sounds with lots of low end often sound good in isolation, but don't sit well in a mix with other instruments and bass guitars.
Monitor without latency
To hear yourself clearly while recording, use headphones or studio monitors connected to your Focusrite interface. Most Focusrite interfaces include Direct Monitoring, which lets you hear the input signal with no noticeable delay.
If your interface has a Direct Monitor switch or dial, turn it on or adjust it so you’re hearing the live mic signal along with any playback from your DAW. This helps you stay in time and in tune without the distraction of latency.
Record and experiment
Once your levels are set and your tone is dialled in, start recording. Don’t be afraid to experiment with mic placement. Moving the mic just a few centimetres can change the sound in useful ways — closer gives more detail and low end, while pulling back captures more of the room.
Try different angles and distances, or even try pointing the mic off-centre from the amp speaker. Take notes as you go, and trust your ears — sometimes the best tone comes from happy accidents.
Think about your recording space
Your room affects the sound more than you might expect. A good-sounding room can make a big difference, especially with close-miked instruments. If things sound too boxy, harsh, or muddy, it might not be your gear — it might be the room.
Try recording in a different spot. Avoid corners, where bass can build up. If it sounds too close or dry, move the mic further away or consider adding reverb in your DAW. If it sounds thin or distant, move the mic closer to the amp. Every space is different — a few small changes in mic position or room placement can help you capture a more natural, balanced tone.
Using more than one microphone to record a guitar amp can unlock extra depth, tone, and space that a single mic might miss. While not essential, it’s a useful technique when you want more control over the overall sound.
Each mic hears the amp differently. Combining them allows you to balance punch, warmth, and room ambience to suit the mix.
Why use multiple mics?
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Capture different tonal characteristics from different types of mic.
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Blend close and distant mics for a sense of space.
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Or it simply adds flexibility during your mix process with more EQ and balance options.
Common mic setups
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Dynamic mic (e.g. SM57) close to the grille for punch and midrange focus.
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Ribbon mic a little further back for warmth and body.
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Condenser mic further away or off-axis to pick up room tone and detail.
Practical tips
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Solo each mic to hear what it adds and how it sounds in isolation.
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Combine them and check for phase issues—listen for thinness or hollowness, especially in the low end. Moving the mics back and forward can help emphasis frequencies or fix problematic resonances.
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Adjust mic positions in small increments—just a few millimetres can make a difference.
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In your DAW you can use a plugin to flip polarity on one mic if needed, this can help phase issues.
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As the sound arrives from the speaker to each microphone at different times, you could use time alignment or phase tools in your DAW to tighten the blend.
It’s not just about where you place the mics—it’s how they work together. If it sounds off, tweak the positions and trust your ears. Used carefully, multiple microphones can capture a more complete and flexible picture of your amp’s sound.
Miking up a real amp is a tried-and-true method for capturing guitar.
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Authenticity
You’re capturing the true sound of your amp and speaker, exactly as they interact in the room.
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Natural dynamics
Real amps respond organically to your playing, offering a more expressive and tactile feel.
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Sonic depth
Mic placement, room ambience and speaker character all add richness and dimension to your tone.
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Creative control
You’ve got full control over every part of the signal chain, amp settings, pedals, mics, mic positions, and room choice.
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Unique gear
Got a rare amp or favourite pedal? Recording it lets you use tones that amp sims might not cover.
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Resale value
Hardware holds its value. Unlike software, real amps and pedals can be sold or traded later.
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Live-ready tones
If you already use your amp in rehearsals or gigs, it makes sense to record with the sounds you know and love.
Using a real amp adds character, nuance and a physical connection to your recordings – perfect for players who want a hands-on, traditional approach.
Recording a real amp can deliver fantastic results, but there are a few practical points to bear in mind, especially if you're recording at home.
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Volume
Amps often sound best when cranked, which isn’t always ideal in shared spaces or late at night.
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Inconsistent results
Small changes – like mic position or room temperature – can affect your tone. Recalling the exact same sound later isn’t always easy.
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Extra gear
You’ll need at least one microphone, and possibly stands, cables, acoustic treatment and a suitable room to get the best out of your setup.
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Time and effort
Getting your tone right can take a while mic placement, levels, noise control, and experimenting all take time. Amp sims get you recording faster with built-in presets.
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Less flexibility after recording
Once it’s tracked, your tone is more or less baked in. You’ll have fewer options to tweak things in the mix compared to working with amp sims or DI signals.
If you’ve got the space and the gear, recording a real amp can be hugely rewarding – but it takes a bit more preparation and know-how to get it right.