The AT 4050 is a great mic and very versatile but here's some other food for thought.

Consider a Crowley and Trip or AEA ribbon mic. Both companies make mics that have different colors on both front and back and are fantastic mics that will compliment your current selection.

They may be a little pricier (not much) than the AT, but they're WELL worth it.

Cheers-
J

How about a blue woodpecker, I know its quite a bit more expensive, but its one of the only ribbon mic I know about but I hear good things. How does that compare with the other mics you just suggested. And also, I'm kind of trying to replace my AT3035, would these do that?

Also can all these mics handle the high spls from a 100w tube amp cause thats what I'm gonna be using it on a lot

I don't know anything about the Woodpecker - I hear it's good but I've never used it.

On the other hand, I can attest to the quality of both the others and they're about the same price as the Woodpecker.

The AEA can handle so much SPL it's not even funny. Certain iterations of the C&T do very well with high SPLs as well.

I would say, if it's a true 100W tube amp (not hybrid), you'd probably only need about the first 8 watts or so for recording - but that will still be PLENTY loud.

Cheers-
J

Cool, im interested in checking out the c&t naked eye classic, it seems to be pretty versatile.

Thanks a lot

It's a great mic for sure but don't discount the AEA R84. IMO, it's one of the finest mics available. I use the R88 on a regular basis. If there's any mic on the planet that's capable of creating a BIG sound without bloating, this is it.

Pair it with a great pre such as a Langevin DVC or a Great River or a Millennia and you'll simply not believe your ears.

Best wishes -
J

Like the SM57, the AT4050 is a good work horse and offers good value. I am glad that I own one.

In fact pretty much all the AT 40XX series are good value mics and worth owning over the direct competition. They also complement each other well. The 4047, 4050, & 4060 are in my mic locker.

One thing nobody mentioned here was that if you are going to crank up your guitar amplifier with a condenser microphone on it? You're probably going to need to engage the pad on the microphone. As opposed to any pad you may have on your console/microphone preamp. The capsule element can physically overload the microphones own electronics. The microphone electronics can in turn also overload the microphone preamp. So both pads may in fact be necessary for good recording. Again, proper gain staging is absolutely critical & necessary.

Notice that Cucco was trying to lead you down the path of a passive microphone? Really, my preference as well. Generally, I really don't like condenser microphones on guitar cabinets. Guitars are not wide range enough to warrant that kind of bandwidth that condensers produce. All you're going to get is extra noise in the low end & high end where there is no real tonal value. And one of the reasons why you find so many SM57 & all sorts of other dynamic and ribbon microphones recommended for guitar cabinets. This is not to say that you won't like the results? But there's a reason why most of us utilize dynamics & ribbons on guitar cabinets. Because we know what sounds good. But anything used properly will always sound fine.

Going all the way!
Ms. Remy Ann David