To mic a guitar cab, point a dynamic mic like a Shure SM57 at the edge of one speaker’s dust cap, close to the grille, and adjust from there by ear. Where you place the mic across the speaker controls brightness; distance controls room and body. This guide covers mic choice, placement, phase, and blending two mics.
Choose the right mic
You do not need a locker full of mics to record a great amp. The classics:
- Dynamic (Shure SM57): the industry-standard cab mic — bright, punchy, handles loud volume. If you own one mic for amps, this is it.
- Ribbon: smoother and darker, great for taming a harsh amp or blending with a 57.
- Condenser: more detailed and open, usually used a little further back or as a room mic.
If you are choosing between mic types, our explainer on condenser vs dynamic microphones helps. A dynamic like the SM57 is the safest, most forgiving starting point for cab work.
Placement: where on the speaker
Aim at a single speaker (cabs have several; pick the best-sounding one). Two variables decide your tone:
- Across the cone: at the centre/dust cap the tone is brightest and most aggressive; moving toward the outer edge of the cone gets darker and rounder. The sweet spot is usually the edge of the cap.
- On-axis vs off-axis: pointing straight at the speaker is brightest; angling the mic off-axis softens the top end and reduces fizz.
This is exactly what IR makers capture when they label positions, which is why guitar cab IRs mirror the same choices if you ever go digital.
Distance: close vs room
A close mic almost touching the grille gives a tight, direct tone with maximum punch and minimum room. Pulling back a few inches adds air and body but also more room sound. In an untreated home room, close-mic to keep the room out of your tone — and consider some acoustic treatment if you want to mic further back.
Mind your levels and the amp volume
Set the amp to a volume where it actually sounds good — many amps need to move some air before the tone opens up. Set your interface gain so peaks land around -12 dBFS with headroom. If clipping the input is new to you, see gain staging explained. A clean, well-set level captures the cab faithfully.
Blending two mics (and watching phase)
A two-mic blend is how many pro amp tones are built — for example an SM57 for bite plus a ribbon for body. The catch is phase. When two mics sit at different distances from the same speaker, their signals can partially cancel and thin out the low end. To keep things tight:
- Try to align both mic capsules the same distance from the speaker.
- Flip the polarity switch on one channel and keep whichever sounds fuller.
- Nudge one mic slightly and listen for the bass coming back.
No amp? Use a cab sim instead
If you can’t make noise, you don’t have to mic anything — record a clean DI and use an amp sim with a cab IR, which recreates the same mic-on-speaker choices in software. See how to use amp sims and how to record electric guitar for the full home workflow.
Frequently asked questions
What’s the best mic to mic a guitar cab?
A Shure SM57 is the default for good reason — bright, punchy, durable, and forgiving of placement. Add a ribbon mic later if you want a smoother blend. You can record professional tones with a single dynamic mic.
How close should the mic be to the cab?
For a tight, focused tone in an untreated room, place the mic almost touching the grille cloth. Pull back a few inches only if you want room ambience and have a good-sounding space. Distance trades punch for air.
How do I avoid phase problems with two mics?
Keep both mic capsules the same distance from the speaker, then use the polarity/phase switch on one channel and keep whichever sounds fuller in the low end. If a blend sounds thinner than one mic alone, that is phase cancellation.
