The Audio-Technica ATM450 is an affordable cardioid condenser mic designed specifically for high SPL (Sound Pressure Level) sources like drums, cymbals, amplifier cabinets and more, but it has enough sensitivity to capture the nuances of acoustics.

This sensitivity, coupled with its side address design, allows for different placement options.

The ATM450 features a built-in 80Hz hi-pass filter and a switchable 10dB pad.

I appreciate the ATM450 for its versatility especially with acoustic guitar capturing smooth sounding tracks that blend well with a full band mix. The side-address design also helps minimize bleed when recording guitars simultaneously with vocals.

One downside I find is that the low-end is slightly lacking, but this can be remedied by closer proximity or EQ.

If you're looking for a great, all-rounder microphone that records acoustic guitar with a bit of smoothness and neutrality, the ATM450 by Audio-Technica is a great pick.

Specifications

• Polar Pattern: Cardioid
• Frequency Response: 40Hz-18kHz
• Impedance:200 ohms
• Max SPL: 152dB
• Power Requirements: +48V

Audio-Technica ATM450 Frequency Response and Polar Pattern Charts:

The Neumann KM 184 is a pencil style small-diaphragm condenser that can rival the sensitivity of large-diaphragm mics, while retaining high SPL handling.

It has a frequency range of 20Hz to 20kHz, which is similar to large-diaphragm mics, and this allows for highly detailed sound capture that I certainly appreciate.

Another great feature is its minimal off-axis coloration - great for recording acoustic guitars with a matched pair in an x-y or near-coincident formation.

As expected from Neumann, this mic has premium build quality and feel. High input gain proved to be no problem with its supremely quiet operation. It works stunningly well with acoustic guitars especially with stereo miking techniques.

As an added bonus, it also makes quick work of orchestral instruments, hi-hats, cymbals, and even choirs. Some even go so far as to claim that the Neumann KM184 is the best pencil style condenser microphone, and we understand where they are coming from, especially when most who have used this mic would agree as you can see from the high ratings it gets.

There shouldn't be anything holding you back from getting this mic other than the price, but those who wisely invest in the Neumann KM 184 will be more than satisfied with what they get.

Not just great for single miking, Neumann has hit a home run for stereo recording with the KM 184. Its phase integrity and tolerance are its best selling points as using a matched pair makes for great sounding acoustic guitar recordings in stereo.

Specifications

• Polar Pattern: Cardioid
• Frequency Response: 20Hz-20kHz
• Impedance: 50 ohms
• Max SPL:138dB
• Power Requirements: +48V

Neumann KM 184 Frequency Response and Polar Pattern Charts:

The Shure PGA181 is a versatile, side address mic with a frequency response that complements a wide variety of sound sources.

Design-wise it is unlike the usual small diaphragm "pencil" form factor. Instead, it uses a side-address design more common with large diaphragm condensers. This gives the mic positioning options more similar to large diaphragm condensers.

The PGA181 is hailed as a "Jack of all trades". On acoustic guitar specifically, the sound is best suited for capturing near the bridge or near the neck joint and helps tighten up big bodied acoustic guitars. For single mic use along with singing, it captures a nice balance between instrument and vocals.

The mic is a bit heavy, able to tip some mic stands over. To address this, we recommend using a solid Mic Stand.

The PGA181 is a versatile microphone that you can use for both your acoustic guitar and vocals (as well as other instruments). Get it if you want a great do-it-all mic at
this price.

Specifications

• Polar Pattern: Cardioid
• Frequency Response: 50Hz-20kHz
• Impedance:120 ohms
• Max SPL: 138 dB
• Power Requirements: +48V

Shure PGA181 Frequency Response and Polar Pattern Charts:

While on the lookout for a new microphone to upgrade my studio with, I came across the Aston Origin. At first I thought it was a boutique microphone. Its waveform mesh and industrial design brought to mind boutique mics like those from Brauner. I was surprised to find that not only was the Aston Origin affordable, It was also critically acclaimed by experts and hobbyists alike. After being impressed by demos, I got one for myself.

The mic has a very brutalist-like aesthetic with the unpainted body sporting a special "tumbled" finish achieved by letting the enclosure mix around a chamber with ceramic pellets. The waveform head is the undulating structure visible on the outside of the mic and protects the dual layer steel mesh that also serves as a pop filter.

The headbasket of the Aston Origin is anything but traditional. Not only does it serve as a pop filter, the spring-like structure protects the capsule from bumps and tumbles.

Inside the Origin is an internal shockmount for the capsule. This prevents the mic from picking up excess vibrations from mic stands and low frequency rumble from sound sources. Being internally shockmounted, the mic is free from excess resonance that plagues many mics at this price point. This also enables direct mounting on mic stands with the bottom of the mic having a threaded slot along with an adapter. For those looking for a more traditional setup with a shockmount, Aston offers a packaged version in black with a shock mount and pop filter.

I can describe the sound of the Origin as "mid forward" with slightly less low frequencies than most mics (even without the 80hz filter). It is a very detail oriented mic that captures nuances that most mics at this price point smear or obscure.

The upper mid presence is rich and not harsh with a slight bump in the treble frequencies. I was afraid that sibilance would be an issue but thankfully, the Origin's smooth high frequencies took care of any that would have arisen my entire time using it.

With this forward sound signature, the Origin reminds me of another British-made audio device: Marshall Amplifiers. Like them, the Origin has an aggressive midrange that cuts through the mix with no effort with just enough warmth to keep it from sounding harsh or anemic. Vocals recorded on the Origin stand out in a mix with very little effort, making it perfect for busy rock or metal mixes.

This odd looking microphone has made its way into home studios around the world for its neutral sound signature with just the right amount of harmonic content to flatter most voices. It's an excellent vocal mic for nearly any sound source you can throw at it. Deeper voices might find that the low frequencies aren't as accentuated and thus, would make their voices sound a bit thinner. Nevertheless, the Origin is a great all-rounder that punches well above its price point.

Aston Microphones Origin Frequency Response and Polar Pattern Charts:

Although designed with loud sound sources in mind, the Sennheiser MD 421-II's large capsule (for a dynamic mic) enables it to capture nuances better than most dynamic mics. While the SM57 dynamic mic emphasizes percussiveness, the MD 421-II has a richer and smoother sound which brings out the bass strings more on acoustic guitars.

The MD 421-II works well with playing styles involving a lot of low string plucks. The mic adds girth to to larger bodied acoustics and fattens up smaller, thinner sounding instruments.

Rhythmic techniques like body taps are also accentuated, making a convincing kickdrum-like thump to these styles.

Something I rather dislike is the MD 421-II's mic clip design. There are third party accessories that address this but do note that any modifications done to the mic will void the warranty.

For rhythmic guitar playing as popularized by players like Andy McKee, the MD 421-II is sure to add some thump to your performances. The mic's frequency response also adds body to smaller acoustic guitars.

Specifications

• Polar Pattern: Cardioid
• Frequency Response: 30Hz-17kHz
• Impedance: 200 ohms
• Max SPL: 160 dB
• Power Requirements: +48V

Sennheiser MD 421-II Frequency Response chart:

Rounding out our list of recommendations is the Royer R-121 Ribbon microphone.

The ability of ribbon mics to capture ambience may not be a good thing for some home studios, but I find this feature important especially when injecting life and soul to a track. This "open" sound makes it ideal for acoustic guitars, resulting in professional quality and natural sounding recordings.

The R-121 has excellent sound and build quality, its premium price tag is truly justified surpassing my expectations.

The mic's ability to reproduce fine details of high frequency sounds make this one ideal for fingerpickers and strummers alike - even John Mayer was spotted using this mic on one of his YouTube live performance videos. And since it comes with a genuine Ribbon design with max SPL of 135dB, it can be used to capture high SPL sources like guitar amps, trumpets and other loud instruments. The frequency response is a bit different compared to conventional microphones at 30Hz-15kHz so be sure to keep this in mind when buying this mic. Weight is fairly standard at 0.54lbs so positioning is easy.

The price is steep for some, but a ribbon microphone of this caliber is worth it if you can afford one.

Ready for a top-tier mic for your acoustic guitar recordings? The Royer R-121 is ubiquitous in big studios for a reason: it's an amazing microphone that makes acoustic guitars sound natural and "in the room" thanks to its ribbon mic design.

Specifications

• Polar Pattern: Figure-8
• Frequency Response: 30Hz-15kHz
• Impedance: 300 ohms
• Max SPL: 135dB (20Hz)
• Power Requirements: +48V

Royer R-121 Frequency Response and Polar Pattern Charts: