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Thread: What are your favorite guitar mics for live and studio work?

  1. #1
    Senior Member watelessness's Avatar
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    Apr 2012

    What are your favorite guitar mics for live and studio work?

    What are your favorite guitar mics for live and studio work? I've used a lot of mics over the decades but I'm having a lot of success with the Sennheiser e906 right now.
    (513 x 2 / McShootout / DGT / DC 245 Ted / DC22 / Santana / Cu22 Rosewood / 408 Standard / SAS / Mira korina / HBII / SE Angelus Custom / SE Mushok) >> {Archon 100, Archon 25, C, H, Dallas}

  2. #2
    Junior Member
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    May 2012
    I really dig the e906 as well - just throw it in front and sounds good - great.
    I've also had good luck with AKG C414, and AT4050... Never had much luck with sm57 though. They always seemed to lack a bit of "dimension" to me. Being a guitarist first, I don't mind so much when the guitar get's in the way of other things. That said, I can see where people would like to mix with them as being pretty "flat" would make it easier to place in the mix.

    Interesting thought, never tried this... use two (or more mics), 57 for when the singer's doing their thing and mix in the other for the "full effect". Gonna give that a go later.

  3. #3
    I started a thread on this topic in the amps section - it's a good thing to discuss!

    Being in the ad music business for a long time, and doing lots of guitar sessions, I'm using a lot of Royer R-121, SM-57, and even Audix i5. For clean amps, the Blue Dragonfly is a very good mic, it's like having the amp in the control room.

    The Royer's very fast transient response gives the mic a very three-dimensional quality, and the inherent darkness of a ribbon tends to offset fizz and somewhat spiky speakers (looking at you, Celestion V-30s!). It also takes EQ very, very well, because there is very little distortion in the signal of a good ribbon. The Royer also has a ton of low-end proximity effect, that can be manipulated if one desires a "big" sound. Very good for high gain work. The mic can also be flipped backwards for more brightness. The bidirectional polar pattern picks up room sound, so people tend to think it sounds like the amp in the room, and there is a little of that, though it's not the main reason I like to use them.

    The 57 is the classic mic for a reason. It sits in a mix very well. I like the i5 for similar reasons, and it has a little more accurate bottom end.
    Last edited by LSchefman; 01-25-2013 at 12:28 PM.

  4. #4
    Opaque John Beef's Avatar
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    Apr 2012
    Arizona USA
    No matter what I try, for some reason I get the tones I'm looking for with a 13 year old Rode NT1 in the studio. It's a large diaphragm condenser and not particularly high quality or anything. It's just that I have tried so many things and that one brings out everything I'm looking for.

    Live, it's whatever the sound guy the the club puts on it. I'm not picky about that.
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  5. #5
    Cream Crackered Mikegarveyblues's Avatar
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    Warrington, Nr Liverpool UK
    SM-57 or similar.

    One day i'll get a good quality condenser and give that a try.
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  6. #6
    Senior Member gush's Avatar
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    Nov 2012
    washington iowa
    I use senn 609 on our cabs live. Great results. Not a big fan of sm57 on dirty amps though,seems fine for country or blues. I have had pretty good results using AT2020 live as well.I just purchased used audix drum pack that includes the i5, anxious to try that one on my cab. Can anybody tell me what the difference is between the 609 and 906? Is the 906 worth the extra money?

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