How to mic a cajon

How to mic a cajon

How to mic a cajon can be a tricky business and there are quite a few ways of doing it for both live and studio settings. What you decide to do, for either on stage or in the studio depends on a variety of factors. Lets just take the studio for example, what is your room like? is it lively or dead?, does it sound great for acoustic drums naturally?, What type of microphones are available, and is your engineer willing to experiment? As with a lot of drum sessions, experimentation is key. There is no, generally speaking, one right or wrong way to record the cajon but there are a few techniques that have been tried and tested. The thing with the cajon is that even though it may sound good to the ear, it is sometimes a bugger to get it to sound the way you want either in a studio or live setting.

Along with having my own experiences, I decided to ask some of my pro-audio engineer buddies who have a fair bit of experience behind them what they thought, and they came back with some pretty solid solutions.

Amplified Timber TCM Cajon Microphone System with Audix ADX60

One of the most popular methods of micing the cajon today is by using the Amplified Timber TCM System with the Audix ADX60 boundary microphone. This is most certainly the way to get the full audio potential of your cajon.

The principle of the TCM system is that the best sound of your cajon is not inside, but picked up outside of the instrument, and also within the wood of the its self.


The TCM is a hand-carved piece of hardwood that allows you to mount the Audix ADX60 to the back of your cajon securely. This technique gives you the solid bass end, high tones, and also the unique characteristics of your cajon that come through the wood. Not only that but this is a beautiful hand made piece that will look lovely with your instrument.

The Audix ADX60 is a pre-polarized condenser microphone that is highly sensitive and used for many acoustic instruments. After many years of research and development Amplified Timber discovered that the ADX60 was the microphone that worked best with their system and could bring out all of the tonal quality of the cajon.

The ADX60 has a uniformly controlled hemicardioid polar pattern and is designed to capture a designated area. This mic requires a 9 – 52 V phantom power for operation and is equipped with a 25′ cable and phantom power adapter.

If you are serious about the sound of your cajon make sure you check this option out:

Mic the front and back

What seems to be a general consciences, and I have to agree, is that you really want to mic both the back and the front of the cajon. This will enable you to capture the wide frequency range that the instrument produces. I would say that in the studio this is an absolute must. Mattie Foulds, who is not only an engineer/producer but also a drummer with many years of experience suggested the use of a Neumann U 87 about a foot from the from the front of the cajon and a bass drum mic in the sound hole to catch the depth. He recommended an Audio Technica ATM25 or Beta 91 for the bass end. The Neumann U 87 is really an incredible mic but not the cheapest piece of kit coming it at around $3000 – $4000 so lets look at some other alternatives.

Iain Thompson, another experienced engineer in the business uses an Audix D6 on the back end and a Beyerdynamic M 201 pointed at the front. I have used this combo before and it will definitely give you a solid result at a lower cost. He also recommended the use of a Beyer m88 for the bass end with the careful use of a high pass filter.

The Beta 91

Another popular option is the Shure Beta 91. This is a half cardioid condenser microphone and is commonly used for kick drums. The way engineers usually place the mic is on a small folded towel or small pillow inside the cajon. This will help prevent the mic from moving around inside. Matt Malakowski, an engineer I have worked with many times said: “when using the beta 91 you should also use a really tight parametric cut around 95-110 depending on the cajon and PA and a little tweaking of 600-1k and the top end and you’ve got huge sounding cajon for days with no feedback”. I would trust Matt with my cajon sound in any situation. You could also put a mic on the front and blend the sound but the great thing about the 91 is that it works very well on its own.


Shure Beta 91

The Sub Kick

A while back I did a session with Minneapolis singer/songwriter Molly Dean. We had just finished miking up the cajon when I saw a Yamaha Sub Kick in the corner of the room. The sub kick is a low-frequency capture device that picks up the low frequencies (100Hz-2000Hz) that a normal microphone can’t. I felt we just had to see how it sounded. We already had a kick mic in the back and the cajon sounded punchy enough but once we added the sub kick it gave the cajon an immense amount of extra beef. If you have one of these lying around, you should for sure try it out on the back of the cajon along with a regular kick mic.

Let the room speak

If you have the advantage of having a nice sounding room you will also want to set up some room mics. Audio veteran Alex Fiennes gave me another great suggestion for utilizing the room sound. He suggested using an MS pair in front of the cajon. The MS technique gives you more control over the width of the stereo spread than a typical XY microphone recording technique, and allows you to make adjustments at any time after the recording is finished. Here is more information about the MS pair. I would think about using a kick mic along with this just to have some extra low-end if you need it.


This may sound obvious but make sure you use your ears. They will tell you if you are getting a good sound or not. Use some good headphones and experiment with placement until you are getting the sound you want.  Don’t think that you can fix a bad sound with plugins and effects. This is simply not true. One of the best pieces of advice when I asked my engineer friends about this was from Jim Sutherland who simply said: “Experiment until it sounds good.”

All in one suggestions:

Amplified Timber TCM System with Audix ADX60

Back end microphone suggestions:

Audix D6

Shure Beta 91

Audio Technica ATM25

Sennheiser e 901

Yamaha Sub Kick

Front end microphone suggestions:

Audix ADX51

Audix i5

Neumann U 87

Beyerdynamic M 201

Electro-Voice ND468

DPA 4090

Shure SM57

Room/MS Pair:

Audix SCX25A

Audix CX212B

AKG 414

Audio Technica 4051

Special thanks to: Alex FiennesMatt MalakowskiMattie FouldsIain ThompsonJim SutherlandFindlay NapierNiall Macaulay & Gary Peterson for your sound advice.

Readers feel free to comment with your own suggestions. I would love to get your input.



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