Microphone Positioning

Microphones with various polar patterns can be used in vocal recording techniques. Consider recording a choral group or vocal ensemble. Having the vocalists circle around an omnidirectional mic allows well trained singers to perform as they would live: creating a blend of voices by changing their individual singing levels and timbres. Two cardioid mics, positioned back to back could be used for this same application. An omnidirectional mic may be used for a single vocalist as well.

If the singer is in a room with ambience and reverb that add to the desired effect, the omnidirectional mic will capture the room sound as well as the singer's direct voice. By changing the distance of the vocalist to the microphone, you can adjust the balance of the direct voice to the ambience.

The closer the vocalist is to the mic, the more direct sound is picked up relative to the ambience. The standard vocal recording environment usually captures the voice only. This typically requires isolation and the use of a unidirectional mic. Isolation can be achieved with baffles surrounding the vocalist like a shell” or some other method of reducing reflected sound from the room. Remember even a music stand can cause reflections back to the mic. The axis of the microphone should usually be pointed somewhere between the nose and mouth to pick up the complete sound of the voice.

Though the mic is usually directly in front of the singer's mouth, a slightly off-axis placement may help to avoid explosive sounds from breath blasts or certain consonant sounds such as p”, b”, d”, or t”. Placing the mic even further off-axis, or the use of an accessory pop filter, may be necessary to fully eliminate this problem. While many vocals are recorded professionally in an isolation booth with a cardioid condenser microphone, other methods of vocal recording are practiced.

For instance, a rock band's singers may be uncomfortable in the isolated environment described earlier. They may be used to singing in a loud environment with a monitor loudspeaker as the reference. This is a typical performance situation and forces them to sing louder and push their voices in order to hear themselves. This is a difficult situation to recreate with headphones. A technique that has been used successfully in this situation is to bring the singers into the control room to perform. This would be especially convenient for project studios that exist in only one room.

 

Microphone Positioning

Drum Kit Miking - The drum kit is one of the most complicated sound sources to record. Although there are many different methods, some common techniques and principles should be understood. Below you will find the basics of mic selection and placement, for further detail and reading - you can also read our 6 Part Drum Recording Guide.

Getting Started

Since the different parts of the drum kit have widely varying sound they should be considered as individual instruments, or at least a small group of instrument types: Kick, Snare, Toms, Cymbals, and Percussion.

Certain mic characteristics are extremely critical for drum usage.

Dynamic Range - A drum can produce very high Sound Pressure Levels (SPLs). The microphone must be able to handle these levels. A dynamic microphone will usually handle high SPLs better than a condenser. Check the Maximum SPL in condenser microphone specifications. It should be at least 130 dB for closeup drum use.

Directionality - Because we want to consider each part of the kit an individual instrument; each drum may have its own mic. Interference effects may occur due to the close proximity of the mics to each other and to the various drums. Choosing mics that can reject sound at certain angles and placing them properly can be pivotal in achieving an overall drum mix with minimal phase problems.

Proximity Effect - Unidirectional mics may have excessive low frequency response when placed very close to the drums.

A low frequency roll-off either on the microphone or at the mixer will help reduce the muddied” sound. However, proximity effect may also enhance low frequency response if desired.

It can also be used to effectively reduce pickup of distant low frequency sources by the amount of low frequency roll-off used to control the closeup source.

Typically, drums are isolated in their own room to prevent bleed through to microphones on other instruments. In professional studios it is common for the drums to be raised above the floor. This helps reduce low frequency transmission through the ground.

Here are some basic individual drum miking techniques:

(Kick) Drums

This drum's purpose in most music is to provide transient, low-frequency energy bursts that help establish the primary rhythmic pattern of a song. The kick drum's energy is primarily focused in two areas: very low-end timbre and attack”.

Snare Drum

This is the most piercing drum in the kit and almost always establishes tempo. In modern music it usually indicates when to clap your hands! This is an extremely transient drum with little or no sustain to it. Its attack energy is focused in the 4 - 6kHz range. Typically, the drum is miked on the top head at the edge of the drum with a cardioid or supercardioid microphone.

Hi-Hats

These cymbals are primarily short, high frequency bursts used for time keeping, although the cymbals can be opened for a more loose sound. Many times the overhead mics will provide enough response to the high hat to eliminate the need for a separate hi-hat microphone.

If necessary, a mic placed away from the puff of air that happens when hi-hats close and within four inches to the cymbals should be a good starting point. (See position G in diagram to right; see image 10.) Simpler methods of drum miking are used for jazz and any application where open, natural kit sounds are desired. Using fewer mics over sections of the drums is common. Also, one high quality mic placed at a distance facing the whole kit may capture the sounds of kit and room acoustics in an enjoyable balance. Additional mics may be added to reinforce certain parts of the kit that are used more frequently.

Tom Toms

While the kick and snare establish the low and high rhythmic functions, the toms are multiple drums that will be tuned from high to low between the snare and kick. They are primarily used for fills, but may also be consistent parts of the rhythmic structure.
The attack range is similar to the snare drum, but often with more sustain. An individual directional mic on the top head near the edge can be used on each drum and panned to create some spatial imaging. A simpler setup is to place one mic slightly above and directly between two toms. (See position E in diagram to right; see image 11. )

Overheads

The cymbals perform a variety of sonic duties from sibilant transient exclamation points to high frequency time keeping. In any case, most of the energy is high-frequency content.

Flat frequency response condenser microphones will give accurate reproduction of these sounds. Having microphones with low frequency roll-off will help to reject some of the sound of the rest of the kit, which may otherwise cause phase problems when the drum channels are being mixed.

When there are limited microphones available to record a drum kit use the following guidelines:

Number of microphones

Three
Kick drum, snare, and overhead or kick drum (1,2, and 5)
Four
Kick drum, snare, high hat, and overhead (1, 2, 3 and 5)
Five
Kick drum, snare, high hat, tom-toms, and overhead (1, 2, 3, 4 and 5)
Timbales, Congas, Bongos