Recording Electric Guitar with Large Diaphragm Microphones
Nov 12, 2025
When recording electric guitar, engineers often reach first for a dynamic mic — tight, punchy, and familiar. But a large-diaphragm condenser unlocks something altogether different: the full dimension and character of the amp itself.
Where a dynamic may capture the bark and bite, a large-diaphragm mic reveals the harmonic depth, low-end bloom, and three-dimensional texture that make a great amp feel alive. You begin to hear the way the cabinet breathes — the air moving in the room, the subtle overtones dancing above the distortion, the wood and wire working together.
Large-diaphragm condensers also give you a wider tonal canvas to shape in the mix. Want warmth and weight? Choose a darker-voiced capsule. Need presence and sparkle? A brighter-tuned mic brings that detail forward without adding harshness. And with ADK’s T-FET series, each model offers a distinct “vintage re-imagined” flavor — from the darker weight of the Frankfurt-49 to the crisp shimmer of the Vienna-12 — letting you sculpt the amp’s voice just as carefully as the player shapes their tone.
In short: a large-diaphragm condenser turns a guitar recording from a snapshot into a portrait. It captures not just the sound of the amp, but the feel of the performance — rich, dimensional, and alive.
Our friend Channing Stockman of The Studio Co-Op put all six ADK T-FET microphones to the test — walking through his process, signal chain, and the sonic results he achieved with each mic.
For a hands-on learning experience, download the full set of audio files from the Samply playlist below and load them into your own DAW.
Compare each take side-by-side to hear how capsule voicing and circuit design shape the tone of every T-FET microphone.
Guided Walkthrough
Sometimes hearing the subtle differences between microphones — or even between different types of microphones — can be tricky. Our ears and eyes can play tricks on us, leading us to perceive things that aren’t always there.
To help provide a point of reference, we’ve created a guided walkthrough outlining what to listen for with each of the six ADK T-FET microphones. Use the information below as a starting point, then decide for yourself which T-FET best fits your sound and recording style.
A quick note: when recording a guitar amp with a dynamic or ribbon microphone, engineers often place the mic very close to the speaker grill to capture a tight, focused tone. However, with a large-diaphragm condenser, pulling the mic back a foot or two can yield a rounder, more dimensional sound — capturing not only the speaker, but also the cabinet resonance and room energy that make an amp come alive.
Also, when working with distorted electric guitars, remember that the instrument’s frequency response can be quite narrow, and not as full bandwidth as other sources. Because of that, hearing the differences between microphones can sometimes be subtle. If you find it challenging to pinpoint those nuances at first, don’t worry — critical listening takes practice. So grab your headphones, turn up your speakers, and let’s get started.
Frankfurt-49 T
When you cue the Frankfurt-49 sample, listen for rich warmth and substantial low-mid weight. The upper end is mellow, almost ribbon-like, and the midrange has a “big chest” presence. If you hear a source that feels plump, broad, warm, and restrained in the top-air (no harsh sibilance or overly bright sparkle) that’s your Frankfurt-49.
What to focus on:
Does the electric guitar stay full and luxuriant without sounding muddy?
Does the guitar feel thick and generous, with less “air” up top than some of the others?
Is the top end smooth and elegant rather than sharp or forward?
Why:
The Frankfurt-49 “provides the rich warm sound of a ribbon, with the detailed forwardness of a condenser” and features a soft top end, forward mids and big bottom.
Tip: If the sample feels “vintage warmth” with less top-edge bite, and almost "ribbon-like" you’re likely in the Frankfurt-49 zone.
Berlin-47 T
Switching into the Berlin-47 sample, you should hear something more mid-forward, more lively in the upper-mids and some sparkle on top — a mic that draws attention. It’s less mellow than the Frankfurt-49, more “in your face” but still with vintage character.
What to focus on:
Does the guitar hit with a bit more edge or bite than the Frankfurt-49 did?
Does the guitar feel a little lighter in the low end, but more present in mid to upper mid?
Is there a bit more air / openness up top and less of the thick low-end wrap?
Why:
The Berlin-47 is described as “an electric sounding mic … a nice energy in the upper mids that brings to life brass and woodwind instruments …” with “rich low end with a little sparkle on top.”Tip: If you hear something with a bit more sheen, more forward midrange, that’s the Berlin-47 working.
Munich‑7 T
Now with the Munich-7 sample, listen for a full-bodied low end, strong mids, and a subtle top-end sheen but without exaggerated harshness. It falls between warmth and brightness — a rich character that still has clarity and has presence.
What to focus on:
Does this sample feel “fatter” than the Berlin-47 but a little more open up top than the Frankfurt-49?
Does the guitar feel full-bodied, with good weight, yet still articulate?
Is there a sense of modern detail but with vintage flavor?
Why:
The Munich-7 is described as a “multi-pattern, transformer balanced FET condenser mic … fatness of the early ’50s with the subtle sheen of the early ’60s.”Tip: This is your “rich but articulate” reference point. If it feels like a sweet-spot of size plus clarity, you're likely hearing the Munich-7.
Hamburg-67 T
Cue the Hamburg-67 sample and you’ll hear a well-balanced, mid-forward mic with solid lows, detailed upper mids, and a gently rolled-off top end — one that sits confidently in a mix and doesn’t shout but holds its own.
What to focus on:
Does the guitar feel authoritative, present, with a stable mid-range anchor?
Is the top end less flashy — smoother / more controlled — compared to the Berlin-47?
Is the low end firm and supportive but not overly thick?
Why:
The Hamburg-67 is described as: “neither too bright nor too dark, the Hamburg renders vocals and instruments with a rich, full-bodied tonality characterized by focused lows, a mildly assertive midrange, and a gently sloping high end.”
Tip: Think of this as the mic that “sits in the mix” and holds its space. If you hear something balanced and confident, this is likely the Hamburg.
Cremona-251 T
With the Cremona-251 sample, listen for airy top-end, pristine clarity, balanced mids, and tight low end. It has more “air” than the warmer mics, and is great for sources where detail and openness are prized.
What to focus on:
Is the guitar feeling very present up top, with a clear shimmer or “air” at 12-15 kHz?
Does the bass end feel cleaner and more controlled rather than big and thick?
Is the midrange balanced, not overly forward, with a polished quality?
Why:
The Cremona-251 is described as: “a flat, tight low end, a modest upper mid-range bump, and a pronounced 15kHz ’air boost’ to enhance vocals…”
Tip: If you hear the highest top-end sparkle and a bit more “studio sheen,” you’re likely listening to the Cremona-251.
Vienna-12 T
In the Vienna-12 sample listen for brilliant clarity, strong presence, and shimmering detail especially in upper mids and top end — a mic that brings out articulation and cut, especially useful for instruments or vocals that need to sit forward.
What to focus on:
Does the guitar hit with glimmering strings or crisp transient detail?
Is the low end less dominant, more controlled, giving space to upper mids and top end?
Do you hear a “shimmer” in the top frequencies without harshness?
Why:
The Vienna-12 is described as: “Bright without being harsh, the Vienna imparts forceful presence, sheen, and shimmer …”
Tip: Think of this mic when you want openness and presence. If you hear something with “air,” detail, and articulation, you’re likely on the Vienna-12.
Each of the six ADK T-FET microphones offers its own sonic personality — shaped by capsule design, circuit topology, and transformer pairings to achieve the heritage tones that inspired them. What might seem like subtle differences at first become clear with focused listening and practice. The beauty of this exercise is learning to hear beyond the obvious — to recognize how tone, texture, and dimension can completely transform a recording.
Whether you’re drawn to the Frankfurt-49’s vintage warmth, the Munich-7’s balanced depth, or the Vienna-12’s brilliant shimmer, you’re beginning to understand what makes the T-FET line such a powerful creative toolkit. Every model expands your ability to tailor sound to emotion — to capture performances not just accurately, but artfully.
Continue your exploration by revisiting the Samply playlist, experimenting within your own DAW, and checking out more upcoming guided sessions on the ADK Microphones Blog.
Because when you train your ears to really listen, the right microphone doesn’t just record the sound — it reveals the soul.