How to Position a Microphone

Distance
The golden rule of microphone placement is get the distance right. In general, p
lace the microphone as close as practical to the sound source without getting so
close that you introduce unwanted effects (see below).
The aim is to achieve a good balance between the subject sound and the ambient n
oise. In most cases you want the subject sound to be the clear focus, filled out
with a moderate or low level of ambient noise. The desired balance will vary de
pending on the situation and the required effect. For example, interviews usuall
y work best with very low ambient noise. However if you want to point out to you
r audience that the surroundings are very noisy you could hold the mic slightly
further away from the subject.
It is possible to get too close. Some examples:
If a vocal mic is to close to the speaker's mouth, the audio may be unnatura
lly bassy (boomy, excessive low frequencies). You are also likely to experience
popping and other unpleasant noises.
A microphone too close to a very loud sound source is likely to cause distor
tion.
Placing a mic too close to moving parts or other obstacles may be dangerous.
For example, be careful when micing drums that the drummer isn't going to hit t
he mic.
Phase Problems
When using more than one microphone you need to be wary of phasing, or cancellat
ion. Due to the way sound waves interfere with each other, problems can occur wh
en the same sound source is picked up from different mics placed at slightly dif
ferent distances. A common example is an interview situation in which two people
each have a hand-held mic - when one person talks they are picked up by both mi
cs and the resulting interference creates a phasing effect.
Think Laterally
You don't always have to conform to standard ways of doing things. As long as yo
u're not placing a microphone in danger there's no reason not to use them in unu
sual positions. For example, lavalier mics can be very versatile due to their sm
all size - they can be placed in positions which would be unrealistic for larger
mics.
Recording Basics
MXL microphones are the result of world-class engineering and manufacturing capa
bilities. They are designed to provide you with outstanding performance and exce
ptional value. A high quality studio microphone is one of the essential tools in
any musician's equipment arsenal. To help you obtain the best results from your
new purchase, we've provided some tips, tricks, and answers to commonly asked q
uestions. We encourage you to review these materials.
A Little Background Information
MXL condenser microphones use what is known as a cardioid pickup pattern, which
is more sensitive to sound waves arriving at the front of the microphone as oppo
sed to those arriving from the sides or rear. This characteristic makes the card
ioid microphone an excellent choice for many recording applications. While there
are no hard and fast rules for microphone positioning, the following setups are
a good place to begin as they work well in many recording situations - though w
e encourage you to experiment.

We also recommend you use a shockmount with your microphone. Shockmounts de-coup
le the microphone from the micstand and the environment. With a shockmount, you
minimize floor noise as well as any noise induced by people handling the microph
one stand. Shockmounts should be considered "standard equipment" for all recordi
ng applications.
Exercise care while handling your microphone. Your microphone's capsule is the "
crown jewel" of the instrument. Avoid jarring or dropping the microphone. These
vibrations - including tapping on the microphone to "test" its operation - can c
ause damage to the capsule and other electronics. You should also protect the ca
psule from wind. Avoid testing the microphone by blowing into it. If you find yo
urself recording an outdoor performance, you would be well advised to use a wind
screen as protection for your microphone.
The front of the microphone is always indicated by the position of the cardioid
pattern symbol Polar Pattern icon
Recording Vocals and Dialog
Illustration of Recording vocalsIdeally, you want to record vocals in a relative
ly "dead" room. If you clap your hands and get an echo effect, you should consid
er adding some carpet, blankets, drapes, or other sound absorbing materials. On
that note, make every effort to avoid getting too close to the room's walls. The
se hard, reflective surfaces can easily complicate the recording process. Move y
our mic setup toward the room's center.
Generally, you should position the vocalist roughly 6 - 8 inches away from the m
icrophone. Getting too close to the microphone tends to increase bass response a
nd can create problems with plosive sounds - those popping Ps, Bs, Ds, and Ts (m
ore on this in a moment). Getting too far away makes the microphone more subject
to picking up room ambience - a sound that creates the effect of the vocalist b
eing in a bowl. While vocalists may need to move about in order to hit those hig
h notes, make every effort to maintain a constant distance from the microphone,
as this will provide the greatest tonal balance. (see Fig. 1)
For the most part, the microphone's axis (or center line) should aim toward the
nose and mouth to obtain the fullest sound. It's not a bad idea, however, to exp
eriment angling the microphone slightly away from dead center so as to help mini
mize plosives. Further, you should always place a "pop" filter between the vocal
ist and the microphone, with the pop filter positioned 3 - 4 inches in front of
the microphone. This will greatly increase your ability to achieve the most natu
ral sounding recordings with minimal interference from plosive sounds. Fixing pl
osives with audio editing software often creates more of a problem than the plos
ive itself. Use of a pop filter will also protect your microphone's sensitive ca
psule - keeping it free from moisture caused by saliva projecting from the perfo
rmer's mouth, and breath condensation. Remember... Good microphone technique, pr
oper positioning, and use of a pop filter can make all the difference between a
so-so vocal recording and a great one.
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Recording Acoustic Guitar
Recording Guitar IllustrationWhile it may seem obvious, your best results for ca
pturing the acoustic guitar (or any similar stringed instrument for that matter)
begin with a properly tuned instrument and strings that, while not old, aren't
so new so as to create tuning issues due to stretching.
There are two optimum points for microphone positioning - either near the bridge

or by the twelfth fret. While it may seem natural to place the microphone in fr
ont of the instrument's sound hole, doing so usually increases low frequency res
ponse to the point of making the instrument sound "boomy."
Twelfth Fret Placement: Placing the microphone roughly 2 - 4 inches from the twe
lfth fret and aimed directly at the strings will generally produce a warm, full
bodied sound with good tonal balance. Using this technique, the sound hole's con
tribution will be moderated since the microphone is not pointed directly at it.
Bridge Placement: Similarly, you can position the microphone so it is 3 - 6 inch
es from the guitar's bridge. This will generally produce a somewhat brighter ton
al quality. You should also be prepared to experiment positioning the microphone
slightly off-axis should you find yourself capturing too much low frequency res
ponse from the guitar's sound hole.
The acoustical characteristics of your room will also have a pronounced effect o
n your results. A "live" room will produce an overall "brighter" guitar sound, w
hile a "damped" room will produce more of a mellow tone. If you have two microph
ones, you may wish to experiment using one in close proximity to the guitar as p
reviously described, with the second microphone on a stand a few feet away to ca
pture the room's ambience. Blending the two sources can produce excellent result
s.
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Recording an Amplified (Electric) Guitar
amp recording positioningWhile the electric guitar can certainly be recorded dir
ectly, there are times when there is simply no substitute for the sound of a rea
l amplifier. Guitar amps have particular gain stages that facilitate the popular
"crunch" guitar sound. While digital modeling and processing systems certainly
have their place, they may not have the same level of realism as the sound from
an amplifier. A small guitar amp can be just as effective for this application a
s a stack, because you don't necessarily need to "crank" the volume. Instead, yo
u want to increase the amp's initial gain to achieve the desired amount of overd
rive.
Typically, a guitar amp is close miked to achieve the highest direct sound. Plac
ing the microphone roughly 4 inches from the grill, aimed directly at the center
of the loudspeaker will produce the most "edge" to your sound.
By angling the microphone slightly off axis and towards the wall, you can add mo
re "room sound." Experimentation is a key factor in achieving the sound you are
looking for. (see Fig. 3)
Placement of the amp is another important factor. If the amplifier sits on a car
peted floor, you are more likely to reduce the amount of brightness in the sound
. Similarly, elevating the amplifier off the floor may result in a loss of low-e
nd. If you're looking for a big reverberant tone, placing the amp and microphone
in the bathroom is another popular technique. The hard tiles and other reflecti
ve surfaces can do wonders for a dull sound. In this case, move the microphone b
ack a few feet from the loudspeaker and crank it up!
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Recording the Piano
recording piano positioning The piano is one of the most challenging instruments

to record, and many problems stem from the quality and maintenance of the instr
ument itself. You'll obtain the best results by using an instrument that has jus
t been tuned and is in good mechanical condition.
The piano is generally recorded using close miking technique. Ideally, you'll wa
nt a minimum of two microphones. Usually, the microphone capturing the higher st
rings is assigned to the left channel and the microphone capturing the lower str
ings is assigned to the right channel in the final stereo mix, though the stereo
spread generally is not hard left and right. While a single microphone can be u
sed, the lower and upper extremities of the instrument will likely be compromise
d.
Grand Piano: For the upper strings, position the microphone approximately 8 inch
es from the piano hammers (to reduce mechanical noise) and 8 - 11 inches above t
he strings, with the Pan position set to left of center.
For the lower strings, position the microphone toward the far end (away from the
keyboard) roughly 6 - 12 inches from the end and 8 - 11 inches above the string
s, with the Pan position set to right of center. Position the piano's lid at ful
l stick. (see Fig. 4A)
If you are using a single microphone, position the microphone approximately 8 in
ches from the piano hammers (to reduce mechanical noise) and 8 - 11 inches above
the strings - centered over the piano's mid point. Pan position should be cente
red and the piano's lid should be at full stick.
Upright Piano: With an upright piano, the two microphones are generally placed e
ither just over the top of the piano with the top open, or you can remove the pi
ano's front panel beneath the keyboard and place the microphones below.
Piano diagram
Front Panel Placement: For the upper strings, position the microphone approximat
ely 8 - 11 inches away from the strings, with the Pan position set to left of ce
nter. For the lower strings, position the microphone 8 - 11 inches away from the
strings, with the Pan position set to right of center. (see Fig. 4B)
Single Microphone / Open Top: If you are using a single microphone, it is genera
lly recommended that you record from above, as placement of the microphone in th
e lower center may interfere with the performer's ability to access the pedals a
nd the microphone will likely pick up excessive pedal and other mechanical noise
. Position the microphone just over the open top, centered over the instrument.
(see Fig. 4C)
Back to Top
Recording a Drum Set
Like the piano, capturing the drums can be quite a challenge, if for no other re
ason than the fact that you must be very careful to avoid positioning the microp
hone(s) where they could be hit! Ideally you'll want a minimum of two microphone
s for this job, though a single microphone can be employed.
Stereo Overhead Pair: Position the two microphones approximately 16 - 20 inches
above the performer's head - separated laterally by roughly 2 - 3 feet and place
d 5 - 6 feet out in front of the drum kit. Adjust the two microphone's Pan posit
ion so that you achieve a good stereo spread, though generally not hard left and
right.
(see Fig. 5A)

Single Overhead Microphone: Position the microphone approximately 16 - 20 inches

above the performer's head - centered in front of the drum set, and placed 5 6 feet out in front. The microphone's Pan position should be centered for mono d
rums. (see Fig. 5B)
Recording Drums
For best results, record the drums in as acoustically "dead" a room as you can.
If the room is live, the sharp attack transients of the drum kit will only becom
e that much more difficult to capture if the room has hard, reflective surfaces
- resulting in a muddy sound without any real definition. Further, you should al
ways record the drums dry and add signal processing after the fact.
How to make good vocal recordings? Mic positioning
Changing the mic position when recording vocals will change the way the vocals s
ound and affect our productions.
Change the distance of the mic from the mouth of the vocalist, the vertical and
horizontal angle of singing with respect to the mic, to get different results.
An obvious change would be producing a less direct sound when pointing the mic a
t an angle from the mouth, instead of direct. Some recordists note that pointing
the mic downwards instead of straight at the vocalist's mouth captures the ches
t sound more and that pointing the mic up may capture the nasal sound more. Keep
ing a condenser a bit lower than mouth level gets the reflections from the roof
of the mouth, making the recording have more of high end.
Below are a few points about the three positioning factors: distance, vertical a
nd horizontal angles.
Distance between mic and vocalist
Distance is an important factor to consider when placing mics.
Proximity effect of cardioid microphones results in boosted bass frequencies
when the vocalist comes closer to the mic.
When the vocalist stands away from the mic, her head and chest resonances ar
e picked up better into the recorded vocal signal.
Lip noises will be lesser when the vocalist is farther from the mic, while t
he resonant characters of the voice will reach the mic.
Vertical Angle
Higher frequencies reflect off the roof of the mouth and the nose. A mic pos
itioned slightly below the mouth can capture these reflections and record a sign
al rich in high frequencies.
Plosive sounds like S and P are the reason we need to windshields. They get exag
gerated the most when the vocalist is straight on axis of the mic.
Horizontal angle
The coloration of a large diaphragm condenser mic is often the reason some model
s of microphones are famous. Angles away from on axis show different colorations
for recordings done with the same mic.
The off-axis frequency response often means a lesser sensitivity to higher frequ
encies. This property can be used to record backing vocals: singing away from th
e axis of the mic to make the sound less direct and more background. But, in pra
ctice it maybe better to record on axis and then do some reduction in high frequ

ency and get the same effect of being less direct.

Problems of not singing on axis
Drum mic positioning
Drum recording for your band? This guide will help you make professional quality
recordings with the most basic budget mics. Listen to the sample recording to j
udge for yourself.
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io clip. Download the latest version here. You also need to have JavaScript enab
led in your browser.
Off axis response of many budget condenser mics is shaky. They can give a varyin
g response resulting in a less than satisfactory recording. More the vocalist mo
ves horizontally, more the difference in recording is obvious.
When the singer is not facing the mic on-axis, the most sensitive on-axis of the
mic is facing the room, picking up reflections from the room. This makes the ro
om coloration in the recording much more than it would be if the singer was sing
ing on-axis and thereby giving vocals the highest priority by directly pointing
to the most sensitive part of the cardioid mic.
SM58 postioning
Mouth within one inch of the mic while not touching the mic, straight on to the
axis of the mic is what has produced good results for me. This signal can furthe
r be treated with eq, compressor and reverb to get a good vocal recording.
Next time you record, remember the effect that distance and angle can have on th
e final result. Here is an overview of vocal mics.
How to make good vocal recordings? Vocal mics
Assuming we have a good vocalist and a good performance, how do we take care of
the recording, processing and mixing to get professional vocal results? Studio q
uality mics and audio interfaces are available for affordable prices, which make
s equipment accessible for most of us. What are the factors involved and how do
we use them to our best advantage? Let us start with mics
Vocal mics
Shure SM58 Cardioid pattern Dynamic Vocal Microphones without Cable This basic v
ocal mic is affordable and value for money. The best choice of vocal mic if you
are starting out recording vocals, or if you don't want to buy condenser mics.
These are the main types of mics used for vocal recording:
Large-diaphragm, cardioid-pattern capacitor microphones are preferred for mu
ch of serious studio vocal work. It has become like a traditionally established
norm. Large diaphragm condenser mics add a specific tone to the recorded voice.
Recording with a suitable large diaphragm condenser can add warmth, sizzle, air
etc to the vocal, making a good recording.
Shure SM58s, probably the most popular stage vocal mics, are dynamic mics wh
ich are not as responsive to frequencies as the condenser mics. Still these mics
are used by some singers for final professional productions because the mic rec
ords the tone of their voice well. It also depends on the music genre.
Small diaphragm condensers lack off axis coloration and are more accurate th
an large-diaphragm condensers. They won't offer as much tonal options as the lar
ge diaphragm mics. They can be used successfully for vocal recordings. If possib
le try a few small diaphragm condenser mics to record vocals and decide for your
self.
An omni directional microphone in the right acoustic space can give good voc

al recordings with natural spacial and tonal effects added from the room.
If you need to record a vocalist while he is playing an acoustic guitar, the
nulls of a figure of eight mic (bi-directional ribbon mics)can be angled to giv
e very good separation between the vocal and guitar.
Choosing a mic is about the need and result; the final sound we want. Feel free
to experiment. Settle with a mic that gives you the needed recording.
Tonal character of the mic
Audio Technica AT2020: exceptionally value for money large diaphragm studio mic
rophone. (USD 69) USB version: Audio Technica AT2020USB Studio Condenser Microph
one
Dynamic mic Shure SM58 is a dynamic mic that is value for money. When you are st
arting out, if you don't want to spend on a condenser mic, this is the option. E
ven if you have other mics, you can have one of these because it is easy to hand
le and sturdy.
If you are planning to get a studio microphone, a large diaphragm condenser mic,
remember that each model or manufacturer adds a distinct tone when vocals is re
corded through it. The tonal character of the mic needs to match with a particul
ar vocalist. If you have listened to vocals recorded through different condenser
mics, it is easier to know how a change of mic can change the recording.
Female vocals make it very evident if you choose the wrong mic. The unattractive
throaty artifacts which are otherwise not obvious, maybe picked up by the 'wron
g' mic in close micing.
Choosing The Right Mic: suitability vs good/bad
AT2035 has a few more additional features.
Rode NTK Tube Condenser Microphone: a serious tube mic in the budget range.
Most mics these days are technically well made. Noise is more of an issue than t
onality, even if there is a technical downside to a mic. So, it is not a questio
n of a good or bad mic. Sort the mics based on relevance and suitability.
For example, a mic with a more defined upper midrange can exaggerate unwanted ar
tifacts from a female voice while the same mic can be used to bring clarity to a
voice that needs more definition.
Budget microphones and preamps available now are enough to make high quality rec
ordings. If the performance of the vocalist is alright, choosing the right mic a
nd recording the signal properly is what professional results will depend on.
Large diaphragm
If you plan to buy just one large diaphragm mic, if possible test a few of the m
ics you are considering to buy. Maybe you can rent a studio with the mics you ha
ve in mind, and do a few recordings.
Audio Technica AT2020 at USD69, is one of the best value studio large diaphragm
condenser mics available. AT2035 is the next model (USD161) with a few useful ex
tras.
Tube microphones
Tube microphones are a category you could consider. A good tube mic sounds crisp
and clear without being harsh or sibilant, and they also add weight and density
to the lower vocal frequencies. Look for tube mics that do not add overdrive o
n the tube to try to make it sound warm
just what the tube naturally does is eno
ugh.

The Rode NTK Tube Condenser Microphone is a serious large diaphragm tube condens
er microphone with a price in the affordable range. (I use one of these.)
Three mics
If you can spend on three different mics, the choice of mics can come in handy.
You could get three mics with three different characteristics, like:
one with neutral charactertics, which does not add anything obvious to the t
one
one with a warm tone, maybe with a bit of thickening addition to the sound
one that adds sizzle and air to the tone with its characteristic high freque
ncy additions.
Polar Patterns
How do microphones record the sound sources around them? What decides which soun
ds get recorded with prominence while others are neglected?
Microphones have a capsule inside them which is responsible for recording. Sound
s coming at different angles to the capsule will be recorded with different leve
ls of loudness. The pattern by which a mic records sound sources around it is ca
lled the polar pattern of the mic.
The three main polar patterns
Cardioid

Omni

Figure of eight

images courtesy wikipedia

Cardioid pattern
Cardioid pattern (heart shaped) microphones have a very clear directional proper
ty. They record what is in front of the capsule, on the axis more than whatever
lies away from the axis. What is behind the capsule is rejected completely. This
is good when you don't want to record what is around, like the room sound or no
ise and sound from other sources.
Vocals is almost always recorded using cardioid pattern mics because of their di
rectional nature. When the singer is on axis, the vocals is recorded with high p
riority, keeping the surrounding sounds recorded to a minimum.
Shure SM58 and most popular condenser mics are cardioid. Audio Technica AT2020 a
nd AT2035 are cardioid too, while AT2050 is Multi Pattern(you get to choose the
pattern).
The omnidirectional pattern
Omni directional mics pick up equally well from all directions. Record with this
if you have an acoustically dead room or if you want to capture the room sound
and what is happening around as well.
Recording vocals with an omni directional mic can give you a more natural sound;
an open sound, because the mic captures the sound from all the directions. Even
if the singer changes positions slightly, there will not be any noticeable tona
l variation because the capsule is not directional
the angle does not matter.
Record vocals with omni mic when you want the room ambience recorded along with
the vocal. Choir vocals is an example. Omni directional mics are useful for soun
ds where the acoustics of the environment matters.
Omni directional mics don't have the 'proximity effect' which has to be consider
ed when using cardioid mics. (Proximity effect is basically the bass boost in th
e recorded signal when the sound source is brought closer to the mic.)

The figure of eight

The figure-of-eight polar pattern picks up sound in front and behind while rejec
ting sound from the sides. Ribbon microphones are famous for figure-of-eight pat
terns.These are not usually used for vocal recording, though you can try them fo
r their tonality which is different from either dynamic mics or condenser mics.
The most useful situation for a figure-of-eight mic is probably when recording a
singer who plays an acoustic guitar at the same time. Use a figure-of-eight mic
for the vocals. Arrange the dead zone of the vocal mic towards the guitar, so t
hat least spill from the guitar is picked up in the vocal signal. Similarly you
can use a figure-of-eight for the guitar also, pointing the dead zone of the gui
tar mic towards the vocal to gain best separation.
Now you have a good idea about the choices: dynamic or condenser, the different
polar patterns and its uses. In the next article we will continue, exploring oth
er factors including the room and mixing.
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