From kick drums to orchestral strings, no single microphone covers everything. This guide pairs our research with the most searched-for mics worldwide to tell you exactly which microphone shines on each instrument — and which affordable workhorse to reach for first.
| Shure SM57 | Electro-Voice RE20 | |
|---|---|---|
| Best For | Any instrument - universal | Bass, kick, vocals, broadcast |
| Type | Dynamic (moving coil) | Dynamic (variable-D) |
| Polar Pattern | Cardioid | Cardioid |
| Frequency Response | 40 Hz - 15 kHz | 45 Hz - 18 kHz |
| Sensitivity | -56 dBV/Pa | -57 dBV/Pa |
| Weight | 10 oz / 284 g | 21 oz / 640 g |
| Price | $99 | $449 |
For the classic rock midrange, put a Shure SM57 on the speaker cone. For a bigger, more 3D amp sound, blend in a Royer R-121 a few inches further out. The SM57 captures the aggressive 5-7kHz presence peak that cuts through a mix, and the Royer R-121 adds the smooth, open top end and rich low end that makes a cab sound 'expensive'. Together they are the most used two-mic guitar amp setup in recorded history. If you track heavy distorted rhythm, add an e906 or MD 421 for thickness.
For bass, choose an Audix D6 to capture a modern, punchy bottom with serious attack, or an Electro-Voice RE20 for a fatter, rounder broadcast-style tone. The D6 is tailored for low-frequency sources with a big 60Hz bump that translates instantly on any system. The RE20 is the classic bass cab and DI mic — its variable-D design rejects proximity boom for a cleaner low end. Both pair well with a DI feed for a full hybrid bass tone.
For shimmering, transparent acoustic guitar, reach for a Neumann KM 184 or an Austrian Audio OC818. The small-diaphragm KM 184 captures the sparkle and note definition of steel and nylon strings with exceptional detail. The OC818 is a larger, more flexible condenser whose multiple polar patterns and dual outputs let you dial the exact eq response — even digitally via the PolarPilot app. For fast, natural acoustic results, the KM 184 is the safe pro pick.
Trumpets and sax sound best through a ribbon — a Royer R-121 takes the edge off that piercing 2-4kHz bite while keeping body. For a horn section close-up the MD 421 delivers weight and presence without harshness. A Coles 4038 works beautifully on sax and cells for a round, vintage character.
For violin and cello, clip on a DPA 4099 CORE — its supercardioid pattern and CORE amplification capture honest high-resolution tone with zero feedback for live sound. In the studio, the Coles 4038 is a dream on string sections; its dual-mono ribbons deliver a focused, vintage tone when your gooseneck in front of the bridge. For acoustic orchestras, a coles-led overhead is a signature pro choice.
Here is the pro drum miking breakdown: kick with an Audix D6 or Shure Beta 52A, snare with an SM57, toms with a three-pack of Sennheiser e604s, and overheads with Neumann KM 184s. The D6 and Beta 52A both delivers modern, punchy kick; the SM57 captures snare crack; the compact e604 click-on for toms with a rugged body; and the transparent KM 184s translate the whole kit stereo up top. The result is a full, controllable, mix-ready drum sound.
The same mics that work on a drum kit work on congas and bongos — you do not need a separate set of percussion mics. On congas and bongos the skins ring with fast transients, so a dynamic with a presence peak like the Shure SM57 or Sennheiser e906 picks up the slap and the pitch clearly. If you want more body and warmth on a conga solo, the Sennheiser MD 421 is a classic — its low-mid response catches the deep tone of the drum without muffling the slap. For a cajón, place an SM57 or a condenser a few inches off the face for that mix of punch and wood tone. And if you record a percussion section in stereo, hang a pair of KM 184s or a Coles overhead — it turns the congas, bongos, shakers and cowbells into a single instrument instead of a collection of spot mics.
