Microphone Placement “Electric Guitar” (2/5)

In this mini-series I’ll discuss the importance, or rather, the impact of microphone placement. There’s no right and wrong when working with microphones, as some seem to think. I’ll provide frequency illustrations with every example to easier grasp the changes that occur with every technique.

Some of the most unique and original recordings use unconventional microphone placements, which might have played a huge roll in the finalized recording. I will not discuss or show pictures of any popular microphone techniques. Instead I’ll provide audio files and graphs that show the drastic changes that occur when you adjust a microphone just a few centimeters.

This part covers electric guitar. A SM57 microphone was used, and a AT2020 was used for the later examples. The guitar amplifier was a small and beaten up Fender Frontman 15W.

SM57 straight in to the cone.


Probobly the most common way to record electric guitar through an amplifier. A very popular microphone, put at the axis position. The axis in this case is straight into the cone of the speaker. This placement gives you a raw, high end tone with high to medium low end. The more you angle the microphone, the more bass you get generally. This placement normally generates the least amount of unwanted low end frequencies.

SM57 ON axis. A nice frequency spread with a defined mid range.

SM57 OFF axis

Still a common method, but with a very different character. The high end gets toned down and the bass along with the mid frequencies get boosted. This was done at a 30% angle, a good mix between low end and mid.

SM57 OFF axis. The low end is taking over and the midrange is turned down.


If we introduce a condenser microphone into the mix a lot of things change. Instead of a clear, raw and centered tone we get a bassy spread tone with almost a box-like feel. The “edge” of the sound disappears and this placement might not be the optimal one for a clean tone.

SM57 OFF AT2020 ON. The low end is way too pronounced and there’s a gap in the mid range.


If we reverse the order and place the SM57 on axis, the tone gets sharper and more defined. We get a nice snappy tone, but still with a washed out low end sound that may be unwanted, due to the condenser microphone. It lacks character, but can still be used in some situations due to its blendable sound.

SM57 ON AT2020 OFF. Uneven frequence response but with an OK midrange, bass is too strong.

AT2020 close OFF axis

A condenser microphone placed 10cm away from the amplifier, off axis. An oldschool sound with a cut off high end. A bit box-sounding due to excess mid frequencies, but still a vintage and snappy sound. This placement would work great in blues sessions and in sessions that are looking for a vintage sound that can stand on its own.

AT2020 OFF. Lots of character, but uneven reponse.

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