Best Microphones for the Classical Guitar

If you need help on choosing an audio interface, check out my Best Audio Interfaces for Classical Guitar guide.

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I have received several emails regarding which one is the best microphone for the classical guitar. While there is no single best answer for everyone as we all have different tastes, our guitars are different, as well as room acoustics; I put together this comprehensive guide to help you navigate the microphone market and pick the right microphone for you.

After the player, guitar and acoustics, microphones are the most important aspect of the recording chain. My advice is to spend as much money on the microphone(s) as your budget allows. Although it is true that you can buy nice-sounding microphones on the cheap, truly great microphones are expensive.

I have and have tried a large number of microphones over the past few years, I've tried most of the common ones in all price ranges. I keep trying new microphones though, so this guide will keep being updated.

In every price range, there are at least two options; one is a cleaner and more articulate microphone and the other is slightly less revealing, rounder sound.

If you need more assistance, don't hesitate to contact me.

Best Microphones for the Classical Guitar

Entry Point - Under $250

There is no better microphone in this category other than the Line Audio CM3/CM4 small diaphragm condenser microphones. Sweet sound with a natural/linear response and relatively forgiving. Even if you eventually upgrade to more expensive microphones, there is no reason to sell them as they sound great. Small, light and cheap; the only caveat is that they need a decent Preamp.

Alternative - if you think that noise will be a problem (which you shouldn’t), check out the sE Electronic SE8; flat response, low self-noise, though, a little more stiff sounding.

B2-Tier - Under $500

The Shure KSM 141 SL has a clean and sweet sound with fast transient response and is switchable between Omni and Cardioid. Fairly priced and can be easily used in any professional setting. If all you need is Cardioid and you are on a tight budget, the Shure KSM 137 SL will serve you as good.

Alternative - if you find that the Shure is too clean, the sE Electronic SE 4400A is a multi-pattern large-diaphragm condenser with relatively flat frequency response, but enough warmth and fulness. Additionally, multiple patterns offer great flexibility and allow for many different microphone configurations.

B1-Tier - Under $1000

Things start to get interesting, as we are entering the high-performance tiers. My first choice would be the Austrian Audio OC18 Cardioid, clean and crisp sound with gorgeous musicality. The build quality is excellent, and the self-noise performance is pretty impressive.

Alternative - slightly cheaper with a better off-axis response, less fullness in the low end and added brightness, the Neumann KM184 is a solid performer at this price range. It can be a little harsh, but with careful positioning (off-axis response is your friend) you can make professional-sounding recordings.

Alternative - if you are after a more intimate response, with lots of character and colour, but without sacrificing too much clarity; the Soyuz Series 013 combines with an attractive price.

A2-Tier - Under $1500

The Austrian Audio OC818 is a universal multi-pattern studio microphone with outstanding sound and enormous versatility/flexibility. Articulate and elegant response, and the PolarDesigner plugin and PolarPilot App give access to any polar pattern you can imagine, and for us self-recording guitarists, you can even decide on the polar pattern after the recording is done. What else can one ask from a microphone?

Alternative - if you prefer a slightly less detailed presentation, the Neumann TLM 193 is the one to look. It is less articulate than the likes of DPA and Schoeps but has a unique way of capturing the fundamental tones and remains linear in the range that it is most important for the classical guitar.

Alternative - for better off-axis response, realism and high-end character, take a look at the Gefell m295. They sound luscious but should not be used at a distance, or they will sound thin.

A1-Tier - Under $2000

The best small-diaphragm cardioid available today is the DPA 4011A; extremely realistic with a silky high end. I’ve yet to hear a microphone that captures the transients of the classical guitar as good. The only reason not to get it, other than the cost, is if you prefer a rounder, less revealing sound. And the self-noise on the border of being noticeable, depending on the playing style.

Alternative - Schoeps CMC6 with the MK4 capsule is the logical alternative to the DPA’s as one of the best first-order cardioids. Slightly less revealing sound, more pleasant maybe, and with better noise specs. Not as realistic though, and can sound slightly muffled with some guitars. MK2, MK21 and MK22 are also excellent capsules, pick one depending on the acoustics.

I would use DPA’s with most traditional guitars to capture all their beauty and Schoeps’s with double top/lattice guitars to tame some of the harshnesses.

Alternative - for a more of a vintage presentation, the Gefell UMT70s is second to none. Omni, Cardioid and Figure-8 patterns, with a gorgeous, creamy and smooth response. The result is a finished, classy sound. The engineering and manufacturing of Gefell are out of this planet.

Alternative - if your room allows for an Omni, the Gefell m296 is hard to beat, amazing craftsmanship with ultra-realistic sound; outstanding clarity and musicality. Also, the unique medium-sized capsule offers excellent noise performance, which is ideal for the classical guitar.

S-Tier - Under $3000

The DPA 4006A with its musical warmth and brutally honest realism is one of absolute best microphones for the classical guitar when the acoustics allow for an Omni. Listening to anything captured with a pair of DPA’s is like being there in the room with the musician(s); it doesn’t sound like a recording.

Alternative - If you are not sure about the acoustics of the room(s) you will be recording, and need something more flexible, the Neumann TLM 170 offers multiple patterns, a classy sound, with little self-noise and excellent depth. The TLM 170 is slightly less revealing that the DPA, but captures the low-end and lower midrange in a unique way.

Alternative - the Royer SF2 is an active ribbon microphone with a fantastic sound; natural and with enough detail. The Figure-8 pattern might be a bit tricky to use in smallish rooms, but a pair of SF2s (or the stereo version SF24) in a good hall will produce outstanding results.