Microphone Placement and Type

The mic placements, polar patterns and types for common instruments.

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Condenser Microphone
• Wide, extended and generally more linear frequency response • Detailed, clear sound with good high frequency response • Sensitive with good transient response • Phantom powered (+ 48 V) • High output levels means less gain required at the mixer
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Dynamic Microphone
• More colouration in the frequency response • Good for high SPL’s (high volume) • Slow transient response • Robust and reliable • Quite low output needing high gain at mixer • Low level of performer handling noise
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Omnidirectional Polar Pattern
• Exhibit a wide, flat, extended frequency response • Give good pickup of low and high frequencies • Will pick up a lot of room reverberation • Poor isolation of sound source • Not affected by proximity effect
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Cardioid Polar Pattern
• Rejects reverberation, background noise and spill • Gives better isolation • Good for stereo coincident or near- coincident miking • Exhibits the proximity effect
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Acoustic Guitar
Type - Condenser | Placement - 10-18 cm away from where the neck and body meet (12th fret) | Polar Pattern - Cardioid/Omnidirectional
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Electric Guitar
Type - Dynamic | Placement - 10-18 cm from the speaker cone | Polar Pattern - Cardioid
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Acoustic/Upright Bass
Type - Dynamic | Placement - 10-18 cm from the F holes | Polar Pattern - Cardioid
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Electric Bass
Type - Dynamic | Placement - 10-18 cm from the speaker cone | Polar Pattern - Cardioid
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Acoustic Grand Piano
Type - Condenser (2 of them) | Placement - Evenly spaced to pick up bass/treble at end of piano approximately 10 cm above the strings | Polar Pattern - Cardioid/Omnidirectional
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Acoustic Upright Piano
Type - Condenser (2 of them) | Placement - About 60-70 cm apart and around 50-80 cm from the strings | Polar Pattern - Cardioid/Omnidirectional
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Electric Piano/Keyboard/Synthesiser
Type - DI | Placement - Output left and right to stereo DI box connected to two channels on the mixer | Polar Pattern - DI
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Kick Drum
Type - Large Diaphragm Dynamic | Placement - 3-6 inches from the place the beater hits the skin | Polar Pattern - Cardioid
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Snare
Type - Dynamic or Condenser | Placement - A couple of inches away from the skin | Polar Pattern - Cardioid
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Overheads
Type - Condenser (2 of them) | Placement - 1-1.5 metres above the kit spaced evenly to pick out balance between the cymbals and toms | Polar Pattern -Cardioid
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Pop Vocal
Type - Large Diaphragm Condenser | Placement - 8-18 cm from the performers mouth | Polar Pattern - Cardioid
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Backing Vocals
Type - Large Diaphragm Condenser | Placement - 3-4 feet away from the performers | Polar Pattern - Cardioid
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Small Choir
Type - Condenser | Placement - Up to a metre overhead of the performers | Polar Patterns - Cardioid/Omnidirectional
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Trumpet (Jazz/Classical)
Type - Condenser | Placement - 0.5-1 metre from the bell | Polar Pattern - Cardioid
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Trumpet (Pop/Funk/Big Band Jazz)
Type - Dynamic | Placement - 30-60 cm from the bell | Polar Pattern - Cardioid
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Saxophone (Jazz/Classical)
Type - Condenser | Placement - Equal distance between the bell and mouthpiece | Polar Pattern - Cardioid
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Saxophone (Pop/Funk)
Type - Dynamic | Placement - Either equal distance between bell and mouth piece or pointed at bell | Polar Pattern - Cardioid
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Trombone (Jazz/Classical)
Type - Condenser | Placement - 0.5-1 metre from the bell | Polar Pattern - Cardioid
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Trombone (Pop/Funk/Big Band Jazz)
Type - Dynamic | Placement - 30-60 cm from the bell | Polar Pattern - Cardioid
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Violin
Type - Condenser | Placement - 60-100 cm pointed at top of instrument | Polar Patterns - Cardioid/Omnidirectional
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Cello
Type - Large Diaphragm Condenser | Placement - 20 cm-1 metre from sound holes | Polar Pattern - Cardioid/Omnidirectional
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Other cards in this set

Card 2

Front

• More colouration in the frequency response • Good for high SPL’s (high volume) • Slow transient response • Robust and reliable • Quite low output needing high gain at mixer • Low level of performer handling noise

Back

Dynamic Microphone

Card 3

Front

• Exhibit a wide, flat, extended frequency response • Give good pickup of low and high frequencies • Will pick up a lot of room reverberation • Poor isolation of sound source • Not affected by proximity effect

Back

Preview of the back of card 3

Card 4

Front

• Rejects reverberation, background noise and spill • Gives better isolation • Good for stereo coincident or near- coincident miking • Exhibits the proximity effect

Back

Preview of the back of card 4

Card 5

Front

Type - Condenser | Placement - 10-18 cm away from where the neck and body meet (12th fret) | Polar Pattern - Cardioid/Omnidirectional

Back

Preview of the back of card 5
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