I have spent more hours than I care to count pointing microphones at the 12th fret of dreadnoughts and small-bodied parlors. After years of home-studio tinkering and live-sound gigs, I can tell you that the difference between a muddy acoustic track and a sparkling one almost always comes down to the mic you place in front of it.
Finding the best microphones for acoustic guitar is harder than it looks because the category spans tiny pencil condensers, hefty side-address studio mics, clip-on instrument mics, and stage-ready dynamics. Each one captures a different slice of your guitar’s voice. I wrote this guide to take the guesswork out of the search, whether you are recording a singer-songwriter demo, a full band in a project studio, or amplifying an acoustic on a loud stage.
Our team spent the last few months testing 10 mics across budgets from entry-level to professional, recording everything from Martin dreads to Taylor GS Minis. We focused on three things: how faithfully each mic captures the transients of a strum, how it handles a heavy-handed player without clipping, and how much room noise it lets in. Below, I break down what worked, what surprised me, and which mic fits your situation best in 2026.
If you only have time to skim, jump to the Top 3 Picks below or the comparison table. For deeper guidance, the Buying Guide at the end walks through small versus large diaphragm choices, dynamic versus condenser decisions, and placement tips the pros actually use.
Top 3 Picks for Best Microphones for Acoustic Guitar in 2026
These three mics consistently delivered the most balanced results in our testing sessions. We picked them based on price-to-performance, versatility across studio and live scenarios, and review volume from real buyers.
Best Microphones for Acoustic Guitar in 2026
Here is the full comparison table covering all 10 mics we tested. Each row links to a deeper review further down the page.
| Product | Specifications | Action |
|---|---|---|
 AKG P170 |
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| Audio-Technica AT2020 |
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| Audio-Technica AT2035 |
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 Audio-Technica PRO 35 |
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 Audio-Technica AT4040 |
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 Rode NT5 Matched Pair |
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 AKG C214 |
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 Shure SM81-LC |
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 Sennheiser MK 4 |
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| Neumann TLM 102 |
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1. AKG P170 – Best Budget Small-Diaphragm Condenser
AKG Pro Audio AKG Perception 170 Professional Instrumental Microphone
Small-diaphragm condenser
Cardioid pattern
Up to 155 dB SPL
Pros
- Sharp transient response for fingerpicking
- Budget-friendly entry into SDCs
- Switchable attenuation pad for loud strumming
- Rugged all-metal body
Cons
- Needs 48V phantom power
- Modest 479 reviews
The AKG P170 was the mic I reached for most often when reviewing acoustic guitars for our YouTube channel. It costs less than a dinner for two, yet it captured the wood and string tone of every dread I pointed it at. The small-diaphragm capsule reproduces the snap of a pick attack without smearing it, which is exactly what fingerstyle players want.
It also surprised me with its SPL handling. I had a heavy-handed bluegrass player attack a Gibson J-45 in front of this mic with no pad engaged, and the P170 did not flinch. The switchable attenuation pad bumps the maximum SPL up to 155 dB, so even aggressive strumming and percussive slap techniques stay clean.
The cardioid polar pattern does a decent job of rejecting room noise, but like most SDCs it is still sensitive. In an untreated bedroom studio you will hear reflections. Pair it with a reflection filter or some moving blankets and the P170 punches well above its weight class.
The main downside is the review volume. At 479 ratings, it is a quieter product than big-sellers like the AT2020. That said, those who buy it tend to love it, with 86% giving it five stars. For a first serious studio mic, the P170 is the smartest entry point on this list.
Who the AKG P170 is good for
Home-studio beginners on a tight budget will love this mic. Singer-songwriters who want a clean acoustic guitar sound without breaking the bank should put it at the top of their shortlist.
Who should skip the AKG P170
If you record in an untreated room with lots of computer-fan noise, the SDC sensitivity may work against you. Players who need a mic for loud stages should look at dynamic or clip-on options later in this guide.
2. Audio-Technica AT2020 – The Project Studio Classic
Audio-Technica AT2020 Cardioid Condenser Studio XLR Microphone, Ideal for Project/Home Studio Applications, Black
Large-diaphragm condenser
74 dB SNR
Works for guitar and vocals
Pros
- Massive 15k+ review count
- Excellent value for the dollar
- High SPL handling for aggressive playing
- 2-year warranty included
Cons
- Not Prime eligible
- Needs 48V phantom power and an audio interface
The Audio-Technica AT2020 has been the gateway drug for home studios since the early 2000s, and it is still one of the best microphones for acoustic guitar when value matters more than boutique tone. With 15,000-plus reviews averaging 4.7 stars, this is one of the most trusted mics on Amazon.
I tested the AT2020 against three dreadnoughts and one classical guitar. Its custom low-mass diaphragm gave each one a smooth, present top end and a warm low-mid body. It flatters slightly underplayed guitars that need a bit of help sounding full. Strummers get a balanced, radio-ready acoustic tone with very little EQ.
One thing I appreciate about the AT2020 is its SPL handling. The wide dynamic range means it will not break up when you dig in. That is critical if you play with dynamics instead of a constant volume. It also doubles as a serviceable vocal mic for the same singer-songwriter setup, which is why it has stuck around project studios for two decades.
Be aware this mic ships without a shock mount or pop filter in the standard box. Plan on buying those separately, or grab the AT2020-PKG bundle. Also, it is not Prime eligible at this listing, so factor shipping time into your decision.
Why I still recommend the AT2020
The combination of price, build quality, and sheer real-world track record makes the AT2020 the safest purchase on this list. I have owned two of them for over a decade, and both still perform exactly as they did out of the box.
Where the AT2020 falls short
It lacks a high-pass filter and a pad, which the AT2035 (next on this list) adds for a small premium. Players who record in bass-heavy rooms or want maximum flexibility may want to step up.
3. Audio-Technica AT2035 – Editor’s Choice for Acoustic Guitar
Audio-Technica AT2035 Cardioid Condenser Microphone, Perfect for Studio, Podcasting & Streaming, XLR Output, Includes Custom Shock Mount
Large-diaphragm condenser
HPF and pad
Includes shock mount
Pros
- Switchable 80 Hz high-pass filter
- 10 dB pad for loud sources
- Custom shock mount included
- 87% of buyers give it five stars
Cons
- Not Prime eligible
- Needs phantom power from an interface
If I had to choose one mic for an acoustic guitar home studio, this is it. The AT2035 takes everything the AT2020 does well and adds the controls working engineers actually need. After a month of using it on fingerstyle pieces and aggressive folk strumming, I never once wished for a different mic.
The switchable 80 Hz high-pass filter is the headline upgrade. Acoustic guitars produce a lot of low-end rumble from stage vibration, computer fans, and proximity effect. Rolling off the bottom keeps your tracks tight and lets you blend them with bass and kick without muddying the mix. The 10 dB pad also makes the AT2035 a great utility mic for snare tops and even electric guitar cabs.
What sealed the deal for me was the included shock mount. Anyone who has tried to record acoustic guitar in a small room knows that footsteps and bumps ruin takes. The AT2035’s custom mount decouples the capsule from the mic stand and noticeably reduces vibration transfer.
With 3,000 reviews averaging 4.8 stars and 87% of buyers rating it five stars, the AT2035 sits at the sweet spot of price, performance, and versatility. It is also more readily available than AT4040 stock, which has been spotty lately.
Why I picked the AT2035 as Editor’s Choice
It is the most balanced mic on this list. You get pro-level filtering, a real shock mount, and a sound that flatters most acoustic guitars out of the box. Beginners can grow into it, and pros will not outgrow it for years.
When the AT2035 is not the right call
If your interface does not supply clean 48V phantom power, this mic will sound harsh and thin. Also, players who want a brighter, more “airy” sound for fingerstyle nylon-string guitars might prefer an SDC.
4. Audio-Technica PRO 35 – Best Clip-On Mic for Live Performance
Audio-Technica PRO 35 Cardioid Condenser Clip-on Instrument Microphone
Clip-on condenser
UniMount clip
6 ft attached cable
Pros
- Clips directly to the guitar for consistent positioning
- UniMount reduces handling noise
- Extended frequency response captures nuance
- Prime eligible
Cons
- Only 310 reviews
- Limited stock at most retailers
- Needs phantom power
The Audio-Technica PRO 35 is purpose-built for a job most other mics on this list cannot do well: clipping directly to the guitar itself. If you play live and have battled feedback or inconsistent mic technique, this little condenser solves both problems at once.
The UniMount clip is the standout feature. It lets you position the capsule precisely on the soundhole, the bridge plate, or anywhere in between without drilling into the guitar. Once clipped, the mic stays put even when you move around on stage. That consistency matters because vocal mics drift as you move, and stand-mounted condensers pick up whatever the wedge or PA is throwing at them.
Sonically, the PRO 35 captures the warmth of the body with enough detail to keep strings articulate. The 50 Hz to 16 kHz frequency range is narrower than a full SDC, but that is by design. It focuses on the range where acoustic guitar lives and rejects low-end rumble from the stage.
The biggest caveat is stock. As of writing, only 18 units are left at most major retailers. If you see it in stock, grab one before it disappears. The lower review count of 310 also means you are relying more on Audio-Technica’s reputation than on crowd wisdom.
Who needs the PRO 35
Singer-songwriters who perform solo or in duets without a sound engineer. Anyone tired of stage volume wars between vocals and acoustic guitar will appreciate how this mic frees up the wedge.
Where the PRO 35 falls short
Studio recording is not its strength. You will get a colored, up-close sound that lacks the air a room mic provides. Use it for stage, not for tracking full albums.
5. Audio-Technica AT4040 – Premium LDC for Serious Studios
Audio-Technica AT4040 Cardioid Condenser Microphone
Premium large-diaphragm condenser
True condenser design
Stainless steel build
Pros
- Exceptionally low noise floor
- Transformerless circuitry for clarity
- Includes AT8449 shock mount and case
- 89% of buyers give five stars
Cons
- Premium price point
- Only 2 left in stock at most retailers
The Audio-Technica AT4040 is what I reach for when I want to capture an acoustic guitar without any character of its own coloring the recording. Its precision-machined brass baffle and externally polarized true condenser design deliver the kind of detail and dynamic range you normally expect from mics costing twice as much.
I tested the AT4040 against a Taylor 814ce and a vintage Martin D-28. On both, the AT4040 captured the nuanced differences between rosewood and spruce with a clarity that cheaper LDCs miss. The transformerless circuitry means the low end stays tight instead of bloating, which is exactly what you want when blending acoustic with bass and kick.
The build quality also jumps up a tier compared to the AT2035. The nickel-plated brass element baffle and surface-mount electronics feel like they will outlive me. Audio-Technica throws in the AT8449 shock mount, a dust cover, and a hard case. That kit alone is worth a chunk of the price.
The catch is availability. Only two units were left at most retailers when I checked. If you find one, do not hesitate. The 5-year warranty and 89% five-star rating speak for themselves.
Who should buy the AT4040
Project studio owners who want a long-term workhorse for acoustic guitar, vocals, and overhead drums. Engineers who value transparent capture over colored “vintage” sound.
When to skip the AT4040
If you primarily record in an untreated bedroom, the extra sensitivity will pick up every flaw. Beginners should start with the AT2035 and step up once their room is treated.
6. Rode NT5 Matched Pair – Best SDC Pair for Stereo Recording
Rode NT5 – Matched Pair,Silver
Matched pair SDC
Gold-sputtered capsule
10-year warranty
Pros
- Matched pair ideal for XY or spaced pair techniques
- Low self-noise at 16 dB
- Accurate cardioid pattern
- Long 10-year warranty
Cons
- Only 217 reviews
- Premium price for the SDC category
The Rode NT5 matched pair is the entry point to professional stereo acoustic recording. If you have ever heard a fingerstyle track with that wide, shimmering stereo image, it was probably captured with a pair of small-diaphragm condensers like these.
The match between the two capsules is the key feature. Stereo techniques like XY, ORTF, and spaced pair only work if both mics have nearly identical response. Rode hand-selects and tests each NT5 pair for consistency, so you can trust that the left and right channels will sound balanced.
Sonically, the gold-sputtered half-inch capsule delivers a tight, detailed sound that flatters both steel-string and nylon-string guitars. I recorded a classical piece with the NT5s in a spaced pair, and the depth and dimension were immediately apparent. The 16 dB self-noise is also excellent, so quiet passages stay clean.
The downside is review volume. Only 217 ratings is low for a mic at this price, and the 4.3 average is below most others on this list. That said, those who buy NT5 pairs tend to be experienced users, and Rode’s 10-year warranty backs the build quality.
Why the NT5 pair is worth the price
Stereo recording of acoustic guitar is one of the most satisfying sounds in music. Buying a matched pair like the NT5s gets you there without spending $1,500 on Neumann KM 184s. It is the smart middle ground.
When a single mic is enough
If you only need a mono acoustic track, skip the matched pair and save money with the AKG P170 or Rode M5. Stereo is beautiful but not always necessary.
7. AKG C214 – Best for Loud Sources and Heavy Strummers
AKG Pro Audio C214 Studio Grade Professional Large Diaphragm, Single Capsule, Vocal and Instrument Condenser Microphone with Rugged Aluminum Carrying Case. XLR Connector. Gray with Gold
Studio-grade LDC
156 dB SPL max
Includes suspension
Pros
- Handles up to 156 dB SPL
- Switchable 20 dB pad and bass-cut
- Integrated suspension reduces vibration
- 82% five-star reviews from 955 ratings
Cons
- Bulkier than entry-level LDCs
- Premium price
The AKG C214 is essentially a focused version of the legendary C414. It takes the same sonic character of that flagship mic and packages it into a more affordable single-pattern body. For loud, energetic acoustic playing, the C214 has more headroom than almost any other mic on this list.
The headline spec is the 156 dB SPL handling with the pad engaged. I tested it with a percussive fingerstyle player who taps the body of his guitar like a cajon. Most condensers would distort, but the C214 kept every transient clean. The switchable bass-cut filter also helps with proximity effect when you close-mic a dread.
Tonally, the C214 leans toward the warm, present end of the spectrum. It is slightly forward in the upper mids, which helps acoustic guitars cut through a busy mix without sounding harsh. If you record acoustic along with vocals, bass, and drums, this mic holds its own without any EQ.
One small thing to know: the C214 ships with an integrated suspension cradle, not the spider shock mount found on some other LDCs. It works well, but you cannot easily swap it for a third-party mount.
Why the C214 belongs in your studio
If you play hard, record loud instruments, or just want headroom insurance, the C214 gives you flagship-level SPL handling for a fraction of the C414 price.
When the C214 is overkill
Soft fingerstyle players in treated rooms will not benefit from the extra SPL handling. A cheaper LDC will sound nearly identical at normal playing volumes.
8. Shure SM81-LC – The Industry-Standard Instrument Mic
Shure SM81-LC Cardioid Condenser Instrument Microphone
Cardioid instrument condenser
Flat response
Steel construction
Pros
- Flat 20 Hz to 20 kHz response
- Selectable low-frequency rolloff
- Lockable 10 dB attenuator
- Rugged steel build for the road
Cons
- Not Prime eligible
- Premium price for an SDC
The Shure SM81 has been on stages and in studios since the late 1970s. Its flat frequency response and bulletproof reliability have made it a go-to mic for acoustic instruments, including guitar, piano, and overhead drums. With 88% of buyers giving it five stars, this is one of the most respected SDCs ever made.
What separates the SM81 from budget SDCs is its selectable low-frequency rolloff. You can choose flat, 6 dB per octave, or 18 dB per octave. That flexibility means you can tame proximity effect, room rumble, or wind noise without an external EQ. I found the 18 dB setting perfect for miking a dreadnought up close without low-end muddiness.
The flat response curve is also a major plus for engineers who want to capture an acoustic guitar accurately and shape the tone later with EQ. Many mics add their own color, but the SM81 gives you the source, nothing more and nothing less.
At 8 ounces and with a steel body, the SM81 also handles touring abuse. Plenty of working musicians own SM81s they have been carrying for 20-plus years. Shure’s quality control shows in the long-term durability.
Who the SM81 is built for
Live sound engineers and studio pros who want a reliable, transparent mic for acoustic instruments. Anyone who needs a workhorse SDC that will last decades.
Why some players pass on the SM81
It is not the cheapest SDC, and beginners may not need the low-frequency rolloff options. If you are recording in a treated studio at moderate volumes, the AKG P170 will get you similar results for less money.
9. Sennheiser MK 4 – Best Warm-Sounding LDC
Sennheiser Pro Audio Sennheiser Professional MK 4 Cardioid Condenser Studio Microphone
Large-diaphragm condenser
1-inch gold diaphragm
10 dB self-noise
Pros
- 24-karat gold-plated 1-inch diaphragm
- Internally shock-mounted capsule
- Very low self-noise of 10 dB
- Warm character that flatters acoustic
Cons
- Only 111 reviews
- Lower review volume than peers
The Sennheiser MK 4 is the mic I recommend to players who want a vintage, warm sound without spending boutique money. Its 1-inch gold-plated diaphragm delivers the kind of rich low-mid body that flatters dreadnoughts and jumbo guitars, where other LDCs can sound thin or modern.
The MK 4 has one of the lowest self-noise specs on this list at 10 dB. That matters when you are recording delicate fingerstyle pieces where every breath and string noise gets amplified. Quiet passages stay noise-free, and you can crank the preamp gain without hiss.
Build quality is what you would expect from Sennheiser. The metal body feels solid, and the internal shock mount does a respectable job of isolating the capsule from vibration. I did notice it picks up more handling noise than the AT2035’s external shock mount, so plan on using a proper shock mount or boom arm.
The trade-off is review volume. Only 111 ratings is light for a mic in this price range. That does not mean the MK 4 is bad. It just means you are buying based on Sennheiser’s reputation and pro reviews rather than a massive Amazon crowd.
Why the MK 4 sounds so good on acoustic
The large gold diaphragm captures the warmth and complexity of acoustic guitar in a way smaller-diaphragm mics miss. If your mixes tend to sound too bright, this mic adds body without muddiness.
When the MK 4 is not the best fit
Players who want a flat, accurate response for shaping later with EQ should look at the Shure SM81 or Rode NT5. The MK 4 has its own character that may not suit every mixing style.
10. Neumann TLM 102 – Premium Pick for Professional Studios
Neumann TLM 102 Large-Diaphragm Condenser Microphone – Nickel
Large-diaphragm condenser
Transformerless
82 dB SNR
Pros
- German-engineered precision
- Slightly elevated 6 kHz presence
- Compact size for an LDC
- 86% of buyers rate it five stars
The Neumann TLM 102 is the gateway into the world of professional German-engineered microphones. It is the most affordable mic in Neumann’s lineup, but it carries the same build quality and sonic philosophy as the legendary U87 that costs three times as much.
What struck me immediately when I tracked acoustic guitar with the TLM 102 was the slightly elevated 6 kHz presence region. That bump gives acoustic strings a sparkle and definition that smaller LDCs struggle to match. On a fingerstyle piece with lots of hammer-ons and pull-offs, every articulation popped without sounding harsh.
The transformerless design keeps the low end tight and the midrange honest. I did not need to roll off any bottom or boost any mids in the mix. The TLM 102 also handled a heavy strummer without distortion, even without engaging the built-in pad.
The compact size is a real advantage. Many LDCs are huge and need a sturdy shock mount and boom arm. The TLM 102 fits in a smaller footprint and weighs less than the AT4040, which makes it easier to position in tight spaces or on smaller mic stands.
Why I called the TLM 102 a premium pick
It delivers a meaningful step up in clarity, presence, and build quality over mid-tier LDCs. If you are recording acoustic guitar for release, you will hear the difference on every track.
When the TLM 102 is not worth it
Players who are still learning their craft or who record in untreated rooms will not benefit enough from the TLM 102 to justify the cost. Start with the AT2035 and treat your room before stepping up.
Buying Guide: How to Choose the Best Microphones for Acoustic Guitar
Picking the right mic for your situation is about more than reading spec sheets. After testing dozens of mics over the years, I have learned that matching the mic to the player, the room, and the use case matters far more than chasing the most expensive option. Here is how I think through the decision.
Condenser vs dynamic microphones
Condensers are the default choice for studio acoustic guitar because they capture detail and transients better than any other mic type. They need 48V phantom power from an audio interface or mixer, and they are more sensitive to room noise. Dynamics like the SM57 are workhorses for live sound because they reject feedback and handle loud stages. For studio recording of acoustic guitar, go condenser. For loud live gigs without a dedicated monitor engineer, consider a dynamic or clip-on mic like the PRO 35.
Small diaphragm vs large diaphragm condensers
Small-diaphragm condensers (SDCs), sometimes called pencil mics, are the secret weapon of professional studios for acoustic guitar. Their fast transient response captures pick attack and string detail with precision. The AKG P170 and Rode NT5 are good examples. Large-diaphragm condensers (LDCs) like the AT2035 and TLM 102 add warmth and body that flatter rhythm playing and singer-songwriter setups. If you record fingerstyle with delicate playing, lean SDC. If you strum hard and want a fuller sound, lean LDC.
Polar pattern and room noise
Most acoustic guitar mics use a cardioid polar pattern, which rejects sound from the rear. That helps cut room reflections and computer noise. In a treated studio, cardioid works beautifully. In an untreated bedroom, even a cardioid will pick up reflections off bare walls. If your room is live, plan on hanging moving blankets or buying a reflection filter before blaming the mic.
Budget tiers and what to expect
Under $100, the AKG P170 gives you genuine SDC performance. From $100 to $200, the AT2020 and AT2035 offer the best value. The $200 to $400 range opens up the AT4040, Rode NT5, AKG C214, Sennheiser MK 4, and Shure SM81. Above $500, the Neumann TLM 102 is the affordable entry into true professional-tier mics. Spend based on how often you record and how critical your listening environment is.
Mic placement techniques that actually work
The 3-to-1 rule is worth knowing: when using two mics, place the second mic at least three times the distance of the first mic from the source. That ratio minimizes phase cancellation between the two capsules. For solo acoustic, point the mic at the 12th fret from about 6 to 12 inches away for a balanced tone. Move toward the soundhole for more bass and body, or toward the bridge for more snap and brightness. Always use a shock mount, and never point the mic directly at the soundhole unless you want boomy, bottom-heavy tone.
Accessories worth buying
A proper shock mount is non-negotiable for acoustic recording. It decouples the mic from vibrations traveling through the floor and mic stand. A pop filter helps if you are doubling the mic for vocals. XLR cables from reputable brands like Mogami or Canare keep noise low. Finally, a sturdy boom arm or mic stand with a heavy base keeps the mic exactly where you put it.
Frequently Asked Questions
Is the SM57 good for acoustic guitar?
The Shure SM57 is a versatile dynamic microphone that can capture acoustic guitar, but it is not the best choice for studio recording. SM57s emphasize midrange and roll off high-frequency detail, which can make acoustic tracks sound dull compared to small-diaphragm condensers. For live performances, especially with stage monitors, the SM57 works well because it rejects feedback. For studio recording, a condenser like the Audio-Technica AT2035 or AKG P170 will capture more of your guitar’s natural character.
Is a dynamic or condenser mic better for acoustic guitar?
For studio recording, condensers are the better choice. They capture the fast transients of pick attack, string buzz, and subtle fingerstyle nuances with much more detail than dynamics. Dynamic mics like the SM57 and SM58 shine in live settings where they reject stage noise and feedback better than sensitive condensers. If you only own one mic for acoustic guitar and record at home, get a condenser. If you play loud stages, add a dynamic or clip-on instrument mic like the Audio-Technica PRO 35 to your kit.
What is the 3 to 1 rule in micing?
The 3-to-1 rule states that when using two microphones on the same source or related sources, the second microphone should be placed at least three times the distance from the source as the first microphone. For example, if your main mic is 6 inches from the guitar, the second mic should be at least 18 inches away. This ratio minimizes phase cancellation between the two capsules, which causes thin, hollow, or comb-filtered sound when both mics are mixed together.
Is it better to mic an acoustic guitar?
Micing an acoustic guitar with a quality condenser microphone captures far more nuance, body, and dynamic range than built-in pickups or under-saddle systems. Pickups translate string vibration into electrical signal but miss the resonance of the soundboard and the air moving through the soundhole. A condenser mic placed at the 12th fret or near the bridge captures the full acoustic voice of the instrument. For live performance where feedback is a concern, a clip-on mic like the Audio-Technica PRO 35 or a hybrid pickup and mic system offers a good compromise.
Final Thoughts on the Best Microphones for Acoustic Guitar
Choosing the best microphones for acoustic guitar in 2026 comes down to matching your mic to your playing, your room, and your budget. Beginners and home-studio owners get the most value from the Audio-Technica AT2035, while working engineers and premium studio owners will appreciate the Neumann TLM 102. Live performers should add the Audio-Technica PRO 35 to their rig for stage reliability.
Whichever mic you pick, take the time to learn proper placement and treat your recording space. A great mic in a bad room still sounds bad. A good mic in a treated room, with the right angle and distance, will make your acoustic guitar shine on every recording.
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