I believe many guitarist find it interesting:
https://www.sweetwater.com/insync/guitar-cabinet-mic-shootout/
 
 

I thought the '57 was the ticket on the driven tones.
As to the clean, I didn't have a real preference.
Any of the mics I have ('57, '7, 121 or the 414) all performed well.
I shurely (you see what I did there right?) wasn't inspired to run out
and buy any of the others.
I guess there's a reason the '57 is the defacto standard.
Thought their methodology was sound.
T

I got the e-mail with the link to those Sweetwater tests.  Using what they did, I too liked the 57 for most.  
I recently did a "live" recording of our band.  I used SM57's for the lead guitar (a Strat into a Blackface Pro Reverb), Rhythm Guitar, my Pedal Steel (using a Carvin BX500 amp and a 15" Eminence EPS-15C Neo Speaker), the Kick drum and the bass.  They all recorded and sounded great except the Bass.  The Bass was too "boomy" although it didn't sound that way on stage.  I'll have to consider a different mic or placement if I ever do it again.  (I used a Ribbon for the "overhead" for the drums).
 
I liked the vocal mic comparison they did a couple months ago.  I was looking for a new/additional vocal mic and settled on an AKG C214, for a relatively inexpensive addition, after listening to their samples.

The SM-57 is the greatest microphone of all time. You can use it for anything, except maybe triangles and finger cymbals. Still a hundred bucks and you can run over it with a car and still sing into it. Well, after moving the car.

I use a 57 and  a 609 for almost every close mic application for guitar cabinets.
I use a Rode NT1000 for room mic. Adjust to taste.
 
I would like to add, micing a cab is possibly one of the more difficult things for an amateur to accomplish.
Not just because of mic placement itself, but post EQ to make it fit in a mix. 

"Not just because of mic placement itself, but post EQ to make it fit in a mix"
That's why I liked the '57 on the driven tones, it seemed to me it was "close" to what I would do EQ wise.
T

DeeringAmps
"Not just because of mic placement itself, but post EQ to make it fit in a mix"
That's why I liked the '57 on the driven tones, it seemed to me it was "close" to what I would do EQ wise.
T

Yes.  And the closer you get to start with the easier the whole thing becomes.

I also liked the SM57 for both. There was nothing wrong with it. Not muddy or brittle. I guess it stands to reason after 50 years of hearing it on everything that's what sounds right to me.

"I guess it stands to reason after 50 years of hearing it on everything that's what sounds right to me"
You're probably "spot on" with that!
 
T

FOR MANY YEARS....
 
for recording electric guitar, i have eschewed the lowly 57.........!
 
after decades of using them, successfully.
 
 
Now, i use this:
 

 
after a lot of trials and a/b'ing, 
this is the choice.
 
it is such an easy signal to work with.
always consistent.
i like to combine it with room mics.
 
there are other units like it.