5+1 Music Gear Myths You’ve Probably Fallen For

Since the early days of the internet, forum participants have given birth to certain ideas that have been passed down through generations like mantras. Nobody really knows the origin of these gear myths, but they continue to echo—unchanged or slightly adapted—through today’s social media platforms, studios, and stages.

I won’t deny that I believed some of these myths myself, especially when I was starting out. But even now, I find it both entertaining and baffling that these myths seem unstoppable, self-regenerating like a modern-day Lernaean Hydra.

Disclaimer: This post isn’t meant as a rant against internet enthusiast communities—far from it. I’m genuinely glad they exist, as they’ve made sharing knowledge and experiences easier than ever. The issue, however, is that many people pass on "wisdom" they’ve never personally tested.

So, my advice? Curate where you search for guidance. Focus on the basics, avoid falling for the hype, and don’t beat yourself up if you don’t own the latest or most talked-about gear. Instead, make the most of what you already have—it’s likely more than enough to create something great.

With that in mind, let’s dive into a few persistent myths that often pop up in music recording enthusiast circles.

1. Gear Can Be TOO Perfect

I’ve come across arguments claiming that certain guitars, microphones, preamps, converters, digital recordings, WAV files—essentially anything—can be "too perfect", lacking mojo or character. Honestly, this doesn’t make any sense to me.

Sure, some gear inherently adds color or character that might be appealing for specific applications. But the notion that "perfection" is undesirable in general is nonsense.

In fact, starting with a clean, noiseless source gives you the flexibility to shape the sound however you like. You can always add color and character during production, but it’s nearly impossible to remove unwanted color or distortion from a recording that’s already too characterful.

Of course, maybe some of us do need characterful gear to add some life to our 100th soulless take. If the problem isn’t the gear but the player, a bit of extra mojo might be the only thing keeping the session alive.

2. Vintage Gear is ALWAYS Better

There’s a certain mystique to vintage gear, especially the equipment used in historic recordings that has been elevated to legendary status. And let’s be honest - nothing boosts your studio cred like claiming, ‘This was the mic of choice for Francisco Tárrega!’, right? But since most of us can’t get our hands on these rarities, it’s easy to assume today’s gear just doesn’t measure up.

The truth is, old equipment often came with quirks and flaws. Some of it was discontinued for a reason—whether it was temperamental reliability, noise issues, or just plain bad design. Producers back then weren’t looking for "mojo" as much as they were praying their tape machine didn’t eat the master take.

Sure, vintage Fenders, tape machines, and Hauser guitars have their charm, but the gear you buy today solves many of the headaches they lived with. And let’s not forget, the shiny new gear you’re dismissing now might be someone’s prized "vintage treasure" in 20 years. So treat it well—future collectors might thank you!

3. Your Gear SUCKS

Spend a few minutes on any internet forum, and you’ll quickly be convinced that your gear isn’t just "not enough"—it’s the root of all your problems. Even world-class Neumann microphones or RME converters can be dismissed as cheap and harsh, right alongside questionable knock-offs. The only exceptions? Esoteric gear no one’s heard of yet or some Frankenstein contraption built in a genius's basement. What chance does your gear have when you ask for advice in these spaces?

Here’s the harsh reality: if you can’t make a decent recording with the equipment that’s readily available today, the issue probably isn’t the gear. Unless you’re trying something wildly unsuitable—like recording your classical guitar with a Shure SM58—the problem lies elsewhere. Your gear doesn’t suck, and new gear won’t magically solve all your problems.

4. You Need MORE (Usually Expensive) Outboard Gear

It’s not just new microphones that supposedly hold the key to success. Spend enough time online, and you’ll start believing that your recordings will only have the depth and quality you’re chasing if you invest in tube preamps, compressors, or other outboard gear.

I get it—audio quality has fascinated me for over two decades. Back when I didn’t even own a decent pair of condenser microphones, I was convinced I "needed" tube preamps, rack EQs, and reverb processors to sound professional. Over time, I got them all—and guess what? My recordings still sucked. The worst part? I couldn’t even tell why they sucked or admit that they did. Turns out, shiny toys don’t mix the track for you—who knew?

The one piece of gear that made a drastic difference wasn’t some flashy tube preamp but a pair of (cheap) studio monitors—and lots of listening. After that, it was improving room acoustics and, most importantly, learning to trust my ears—a skill no piece of gear can replace.

Now, I can confidently say: a good guitar, a pair of decent microphones, a modern audio interface, and something reliable to monitor through are more than enough to hone your skills and produce recordings that won’t make you cringe.

5. Cables Don’t Make a Difference / Cables Make a HUGE Difference

Of all the internet wars, the one over the impact of cables in music production might just be the silliest. So, what’s the truth? Do cables make a difference? The answer is yes—but with some important caveats.

Between cheap, poor-quality cables and reasonably priced, good-quality cables, there’s a clear difference—not just in sound but in reliability and durability. However, when comparing good-quality cables to ultra-expensive boutique ones, the answer is far murkier. Are we talking instrument cables, microphone cables, or interconnects? Depending on the use, the difference can range from slightly noticeable to impossible to hear—or no difference at all.

But here’s the real question: does it matter? If you haven’t nailed every other aspect of your setup—recording technique, instrument quality, room acoustics, microphones, listening environment, and only then preamps and converters—it makes zero sense to splurge on expensive cables.

For my part, I use high-quality Vovox and Sommer cables, mostly because I don’t want to think about cables at all.

And let’s not even get started on the audiophile crowd, where power cables cost as much as world-class instruments. At that point, the myth stops being silly and becomes full-on absurd.

At the end of the day, cables are just one piece of the puzzle. Good cables matter, but they’re not the magic ingredient to better sound. Focus on the things that do.

Bonus - A Steel String Acoustic is not different than a Classical Guitar

This one definitely hits a nerve. In fact, it’s one of the main reasons I started my recording journey. I’ve been to multiple sessions where the engineer confidently placed a KM184 at the twelfth fret and assured me it was "standard practice". Sure, it might be for a steel-string acoustic—but for a classical guitar? Not so much.

And it’s not just in studios. A simple search into any thread on recording forums about capturing classical guitar, and you’ll inevitably find people discussing techniques and microphones designed for acoustic guitars, not classical ones. Worse, they’ll often post "examples" of their approach—only to showcase a heavily processed recording of a western steel-string acoustic instead of an actual classical guitar.

Equating the two instruments is like saying a sports car and an off-road truck are the same because they both have four wheels. Sure, they share some common features, but their design, purpose, and handling are entirely different.

Conclusion

Some ideas and concepts circulating in internet communities have taken on a form of "common knowledge" that nobody really questions. While these myths can vary from group to group, the pattern remains the same: untested "wisdom" passed down like gospel.

The reality? Most of the time, it’s not about having the perfect gear but knowing how to use what you already have. Skills, experience, and good judgment will always trump hype.

Think professionals are immune to myths? Not quite. In Part II, I’ll dive into gear myths that even seasoned pros aren’t safe from. Stay tuned!