How to Mic an Acoustic Guitar in Stereo

Learn three techniques for natural guitar recordings that sit perfectly in a mix.

Ask five engineers how to mic an acoustic guitar and you’ll likely get five different answers. There are just too many variables for a single approach that works for everyone. Still, if you want consistent results, most engineers rely on a two-microphone setup.

When done right, stereo acoustic guitar recordings should feel wide and detailed, even without EQ or reverb. Let’s break down three of the most reliable stereo mic techniques for acoustic guitar, along with practical tips on acoustic guitar mic placement that work for any session.

Setup 1: Spaced Mics

One of the most reliable ways to mic acoustic guitar in stereo is with a spaced pair setup. Using specific mic combinations and careful positioning — minding the "3:1 rule" — this technique delivers a wide stereo image and balanced frequency separation that shines in solo or stripped-back arrangements.

For a spaced mic setup, remember to keep the two mics about three times the distance from each other as they are from the guitar.

For this setup, two mics are spaced apart from each other at the same approximate height. For the first mic, I prefer a small diaphragm condenser pointed at the 12th fret of the guitar to capture higher frequency content and string dynamics.

For the second mic, I use a large diaphragm condenser aimed at the bridge, or slightly behind it to capture the lower frequencies and body characteristics of the guitar.

When using this technique, remember to follow the rule of 3:1 — where the distance between the two mics is at least three times the distance between each mic and the guitar. For example, if mic A is 6" from the 12th fret, mic B should be at least 18" away from mic A. This will help keep phase cancellations to a minimum and provide a smoother sound that translates to mono should you decide on that later.

Setup 2: Spaced Mic Variation

For a brighter, more open stereo sound, you can explore a variation on the spaced pair.  This placement captures more of what the performer naturally hears while subtly reducing low-end emphasis. 

This setup will yield a brighter sound with de-emphasized bass — try it in a crowded mix or when a thinner sound is called for.

A variation on our previous setup, this technique still employs a small diaphragm condenser pointed at the 12th fret. The second mic is positioned on a mic stand around the performer’s ear level, pointing down either at the bridge or at the strings just in front of the bridge.

For a right-handed player, the second mic would be positioned over the performer's right shoulder, placed out in front of them and angled back towards the guitar (as opposed to pointing at the ground).

This setup will yield a brighter sound that is slightly thinner, but more open sounding than our first technique. Keep the rule of 3:1 in mind, but experiment with the mic placement slightly to improve the timbre.

Setup 3: Stereo X-Y

If you want the most reliable way to mic acoustic guitar in stereo — especially without worrying about phase issues — the X-Y technique is hard to beat. You'll want to use two small diaphragm condensers (ideally a matched pair), with utmost attention to positioning. Because the capsules share nearly the same point in space, sound reaches both mics at almost the same time. This results in minimal phase problems, strong mono compatibility, and a natural stereo image. 

X-Y is always reliable and will minimize phase issues, making your life easier come mixdown.

X-Y, also known as a coincident pair, is probably the easiest and most reliable method for recording acoustic guitar. When executed correctly, it is difficult to get an unnatural-sounding recording, for several reasons.

First, the mic positioning is similar to that of our own ears. Thus, the perceived stereo image tends to sound more natural. Phase issues are less of a concern as well because the capsules are positioned so close. Additionally, sound waves arrive to both mics at roughly the same time, so the resulting tracks are easily mono compatible.

When done right, your stereo acoustic guitar recordings should feel wide and detailed, even without EQ or reverb.

To start, position two small diaphragm condenser mics so that one capsule is above the other, nearly touching. The ends of the mics should be split apart at roughly 90 to 120 degrees, forming a “V” shape. Keeping the capsules focused on the 12th fret, experiment by moving the mics further away to capture more of the room, or slightly left or right to emphasize particular frequencies. 

For both mics, I find that about 7" back from the 12th fret often yields a sweet spot between the bass frequencies from the sound hole and higher frequencies off the neck. This placement can de-emphasize midrange content, which can sound more pleasing on an acoustic guitar.

Stereo Miking vs. Mono: Why It Matters

You can absolutely mic acoustic guitar with a single microphone, and in many situations, mono works beautifully. But stereo recording captures something fundamentally different. It delivers greater depth, dimension, and a realistic image that mirrors how we naturally hear the instrument. 

If an acoustic guitar plays a central role in your arrangement — whether it’s a solo performance or the foundation of the track — stereo can feel more immersive and emotionally engaging. 

Some Final Thoughts

There is no single “correct” way to mic acoustic guitar. The right approach always depends on:

• The instrument
• The player’s dynamics
• The room
• The arrangement

But understanding some foundational stereo miking techniques gives you reliable starting points that translates across genres. 

Once you’ve captured a balanced stereo recording, subtle EQ or compression can refine the image even further. With UAD plug-ins, you can shape tones during tracking or mixdown using the same tools trusted in the world’s best studios.

So experiment. Move the mics. Trust your ears. And don’t be afraid to commit to a sound that inspires the performance. Because at the end of the day, the best acoustic guitar recordings aren't the ones that are technically correct — they're the ones that feel right.

— UA Staff