If you’re building a home studio, you’re obviously going to need microphones. But you don’t need to spend thousands on mics to begin recording demos and even albums. Here are five essential microphones and one direct box, which all add up to under $1,000.
You may already know there are three main types of microphones: dynamic, condenser, and ribbon. Dynamic, or moving coil, mics are the least expensive, but also the most rugged. They handle loud sound sources like drums and guitar amps with ease. You’ve seen these mics many times, because most mics used in live performance are dynamic, but they also get heavy use in the studio.
Shure SM57
Shure SM57 and SM58 dynamic mics set the industry standard. The SM58 ($99 street) is widely used for vocals onstage but also works well on guitar cabinets, snare drums, and toms. The SM57 ($99 street) is a similar dynamic mic aimed at recording instruments more than vocals, since it lacks the 58’s ball grille, which is designed to reduce vocal plosives. I’ve heard very good recordings of acoustic guitar made with an SM57. In fact, you can track any instrument with one of these workhorse microphones and come up with a good sounding final product. Buy each of these very versatile recording tools.
Shure Beta 52A
Another Shure product, the Beta 52A ($199 street), is a specialty mic made to capture kick drums, emphasizing low frequencies. You need one of these, too. The Beta 52A is supercardioid, which means it has a tighter pickup angle and offers good side rejection. This mic is also useful on bass cabinets, tuba, or trombone, and sounds good on floor toms, too.
Condenser microphones are often the most expensive, although they range from $89 to $8,499. Condensers are the most sensitive to dynamics and can also handle loud sound sources. They are used on many instruments—especially for vocals and acoustic instruments, and as drum overheads. Most vocalists prefer a condenser mic in the studio because these mics capture nuanced performances. They often have multiple pickup patterns (omnidirectional, unidirectional, and bidirectional or figure eight), which can be helpful. Condenser microphones need a low-voltage power source, called phantom power, to operate. But the good news is phantom power is found on almost every mixing console and on every interface. Just remember to turn it on when using a condenser.
You don’t need to spend thousands on mics to begin recording demos and even albums.
Audio-Technica AT2021
A great starter condenser is the Audio-Technica AT2021 ($89 street). This small diaphragm mic is excellent for acoustic instruments, including guitar. They also work well as drum overheads. Audio-Technica makes some other high-quality, affordable condenser mics, too. I recommend buying two AT2021s. Then, you’ll have two drum overhead mics that will also sound great recording various acoustic instruments.
AKG P420
A large-diaphragm condenser mic is what most singers prefer in the studio, for its sensitivity to the nuances of vocal performances. They are also used on acoustic instruments, including horns, upright bass, and piano. The AKG P420 ($229 street) is an excellent vocal microphone that can be set for all three pickup patterns. And the omnidirectional pickup pattern can be useful when recording an entire ensemble or vocal group.
Radial ProDI
If you’ve played a gig on acoustic guitar, you already know what a direct box, or DI, does. In the studio, DIs are used to record high-output instruments such as keyboards or bass without distorting. It’s always good to have one on hand. Radial makes high-quality DIs, and I recommend the Radial ProDI 1 ($129 street) for its simplicity and efficiency.
Our total cost for these six mics and direct box is $933. Not bad for a basic, easy-to-find home studio mic selection that’ll get you started. And remember, when you’re ready, there’s a myriad of other manufacturers and mics out there to explore. To say nothing of plugins and hardware.
PS: Ribbon mics are the most fragile. They are often used for specific voices or instruments like brass and woodwinds, or a string section, and they are not as versatile as the other mic types. But ribbon mics do have a nice low frequency bump, and the word “warm” is often used to describe their sound. Because they are not as versatile as dynamic and condenser microphones, ribbon mics can always be added to your collection after you get the basics covered.
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“All the kids in all L.A. / Come to hear Dick Dale play,” or so goes the title track from Dick Dale’s Wrecking Crew-heavy 1963 album, King of the Surf Guitar. Immodest though it might seem to proclaim such a status, he was indeed at the top of the heap.
For many, Dale’s legend precedes him. His sound, first heard in a So Cal beach ballroom, created the surf guitar vocabulary and transformed the guitar universe, starting with the 1962 release of his take on the traditional song “Misrlou.” Ever the showman, he worked closely with Leo Fender developing the right gear for the gig as he played his ripping instrumentals to larger and larger audiences. He also inspired a Hendrix lyric and had a late-career renaissance thanks to Quentin Tarantino.
In this episode of 100 Guitarists, we’re talking all things surf rock, from reverb to tremolo picking and much more. And while “Misrlou” is undisputedly his most influential work, maybe Dale’s best records didn’t come until a few decades later.
This episode is sponsored byTraveler Guitar.
This late-’90s Masterbilt was made to mimic the feeling and look of vintage luxury.
Some guitars just feel expensive. Not in an “I shouldn't be touching this, lest I scratch it” way so much as simply exuding luxury. Maybe it’s the flawless ebony fretboard, making gliding up and down the neck feel like ice skating. Or perhaps it’s the slim, ’60s-style neck shape which felt instantly comfortable in my small hands. It may have something to do with the sumptuously low 2/32" action at the 12th fret, requiring hardly any effort to play.
Makes sense, considering this guitar’s origin story. Mac Yasuda was born in Nishinomiya, Japan. At 15, he discovered the music of Hank Snow and fell in love with country music and the guitar itself. He stole a classical guitar from his cousin (“He never played it,” said Yasuda) and started a band with his friends. Yasuda traveled to the States in the ’70s and after picking up his first vintage guitar from a pawn shop, he was hooked. He began scoping out gear for his friends, which eventually grew into a shop called Mac’s Guitar Gallery in Kobe, Japan. By the ’90s, he estimated he had owned between 4,000 and 5,000 instruments, and his collection was valued at $3 million. He has authored several books about vintage guitars and is widely considered one of the world's preeminent authorities on the subject.
Yasuda is also an accomplished musician. While in Nashville in the ’80s—perhaps for one of the half-dozen times he’s performed on theGrand Ole Opry—he met Greg Rich, an instrument designer who was then head of Gibson’s banjo division. Yasuda enlisted Greg Rich and another guitar maker named Mark Taylor to produce a line of high-quality, vintage-style instruments under the name Masterbilt. “Vintage guitars are fine, but they're limited,” said Yasuda at the time. His Masterbilt guitars would give us mere mortals the chance to get a taste of the luxurious feel of a fine vintage instrument. Masterbilt debuted at NAMM in 1997, and it’s still unknown how many guitars were actually produced. The trademark of the Masterbilt name was cancelled in 2005 and has since been used by other brands, like Epiphone.
“Some folks think anything from the ’80s or before is vintage, but perhaps the fact that time has continued to march on should be factored in.”
Fanny's House of Music believes this guitar to be an early prototype, one of six ever made. Three were sunburst and three were natural. Playing it feels like playing any fine vintage 335; funny when you consider that at 27 years old, some would consider this Masterbilt vintage itself. The notion of what is considered truly “vintage” is hotly debated on Reddit every few months. Some folks think anything from the ’80s or before is vintage, but perhaps the fact that time has continued to march on should be factored in. Some guitars from the ’80s are now 45 years old! We consider guitars from the ’90s to be vintage at this point, so this 1998 Masterbilt prototype fits right in.
This Masterbilt is now 27 years old. In your books, does that make it a “vintage” guitar?
Photo by Madison Thorn
It’s a good example of how history and passion can intersect to create something special. This guitar tells a story of dedication to quality and an appreciation for the feel of a well-made instrument. Whether or not a 27-year-old guitar qualifies as “vintage” may be up for debate, but the magic in this guitar definitely isn’t. If you’re ever in Nashville, stop by Fanny’s and take it for a spin. You might find yourself feeling a bit like I felt after my unexpected ride in a Jaguar: getting a glimpse into the world of understated elegance, where refinement isn't about flash but about experiencing something crafted to near perfection.
SOURCES: namm.com, Los Angeles Times, Blue Book of Guitar Values, Vintage Guitar, Guitar-List.
British metal icon and Bring Me The Horizon guitarist Lee Malia has partnered with Jackson to create his signature LM-87, a shred-ready axe built for heavy riffing and alternative modern metal. As a founding member and lead guitarist of the Grammy-nominated band, Malia is renowned for his aggressive playing style and intricate solos. This high-performance guitar matches his demanding musicality.
With its offset Surfcaster™ body shape and vintage appeal, the LM-87 melds classic design with modern appointments. The thin open pore finish on the bound Okoume body and neck exudes organic style, while the unique 3-ply pickguard and chrome hardware add striking accents. The fast D-profile 3- piece okoume neck allows smooth riffing across the bound amaranth fingerboard.
Custom Jackson signature pickups, including a bridge humbucker with push-pull coil-split, equip the LM-87 with versatile tone-shaping options to fulfill Malia's sonic vision. The TOM-style bridge with anchored tailpiece and fine tuners provides rock-solid stability for low tunings and heavy picking.
Designed in close collaboration with the legendary guitarist, the Jackson Lee Malia LM-87 is built for shredding. Its blend of vintage vibe and high-performance features make this signature model a must-have for players who value commanding metal tone and smooth playability.
The Tune-o-matic bridge with an anchored tailpiece and fine tuners offers enhanced tuning stability and precise, incremental adjustments. This setup ensures consistent pitch control, improved sustain, and easier fine-tuning without affecting overall string tension.
The guitar’s three-piece set-neck guitar with graphite reinforcement offers exceptional strength, stability, and resistance to warping. The multi-piece construction enhances sustain and tonal clarity, while the graphite reinforcement adds extra durability and prevents neck shifting due to humidity or temperature changes. This design ensures a solid, reliable performance with improved resonance and longevity.
Features Include:
- Okoume body
- Three-piece okoume set neck construction with graphite reinforcement
- 12"-16" compound radius amaranth fingerboard
- 3-ply pickguard
- Chrome hardware
- Custom wound Jackson LM-87 pickups
- Volume with push-pull coil-split and tone control
- TOM-style bridge with anchored tailpiece and fine tuners
- Gig bag included
The Jackson LM-87 carries a street price of $899.99.
For more information, please visit jacksonguitars.com.
Unleashing the Pro Series Signature Lee Malia LM-87 | Jackson Guitars - YouTube
Jackson Pro Series Signature Lee Malia LM-87 Electric Guitar - Open Pore Black
