Mentioned by producer Declan Gaffney.

"Most of 'Get On Your Boots' was recorded in Dublin by Richard Rainey, and the basic backing tracks were done live, by the whole band together. (...) Edge's thick guitar sound is entirely from the live band session, recorded with two Royer 121s, one on his Fender Deluxe and the other on his AC30, and the mics went through the Neve and then an LA2A, though it's not doing anything, it was just there for the sound. When recording Edge's cabinets, it's almost always a 121, or a Sennheiser 409, occasionally a 57. I record completely flat, because Edge will have found a great guitar sound, and you just record it."

"I like the Sennheiser 409 on amps. For a different sound I like a ribbon mic. Acoustic guitar recordings are tough. If you can have a nice big mic further back from the instrument that's usually the best. Further back means no booming. Lately I've enjoyed a U47 or C37A with a 1066 preamp."

In the article "Hum Guitar Sounds?" by Keith Cleversley on Playground Studio, it is confirmed that a Sennheiser 409 microphone was used to mic up the guitar cabinets during the recording of "You'd Prefer An Astronaut."

I keep one of my basketweave cabinets mic’ed up all the time – 24/7 – for the last six years. I keep the heads in another room and switch between them, but keep the cabinet mic’ed up. I picked just one speaker and I use Shure SM57 and Sennheiser 409 mics together on the same speaker.

"Despite current trends, Alanis' band still prefers to play through amplifiers onstage instead of using isolated cabinets offstage or DIs. Pearson uses a variety of different microphones to get everything through the P.A. 'Each of the guitar cabinets is miked with a Sennheiner 409. On stage right, there is one Marshall 4×12 cabinet and a Fender 1×12, which is used for effects and loops. Alanis uses a Fender 4×10. On stage left, there is a Divided by 13 and a Matchless amp, which are both 2×12s.'"