Forte
Recording
Microphones
By ANA barbu and cherie Yurco
n In his book Recording on a Budget:
How to Make Great Audio Recordings
Without Breaking the Bank (Oxford
University Press, 2010), Brent
Edstrom stresses the importance
of experimentation when selecting
microphones for recording. Although
it is possible to give some general
tips on microphone selection and
placement, the final decision should
be left to your ears. Take your time and
try different set-ups, experimenting
with mike distance and different
places in the room. This guide will
help you understand a little bit about
how different mikes work and offer
some tips.
34 JANUARY/FEBRUARY 2011
The job of a microphone is to convert fluctuations in sound pressure into electrical
signals. The way this is done depends on the type of mike. The two most common
types used in home recording are dynamic and condenser. In a dynamic microphone
a coil of wire is attached to a diaphragm and surrounded by a magnetic field.
Sound pressure waves cause the diaphragm to move and a small electrical signal is
produced when the coil moves in proximity to the magnet. Dynamic mikes tend
to sound less crisp and transparent, but have a unique color that can be effective.
They are often cheaper and more durable than condenser mikes and are often used
for amplifiers, vocals, drums, brass, and auxiliary percussion.
Condenser mikes, a mainstay of professional recording studios, are usually more
sensitive, fragile, and expensive and require phantom power. Small-diaphragm
condenser mikes are well-suited to record acoustic instruments (strings, guitar,
piano), overhead of drums, or ensembles, while large-diaphragm mikes exhibit
more warmth and are often used for vocals, piano, and acoustic bass.
You also need to know your mike’s pick-up pattern (how it “hears” sound). Omni-
directional mikes respond to sound from all directions and are great if you want to
record the ambience of the room. Bidirectional mikes pick up sound equally from
in front and behind the mike. A cardioid mike has a heart-shaped pick-up pattern
that picks up signals mainly from the front, and to an extent from the sides, while
minimizing signals from behind. Cardioids are useful for isolating one track in
multi-track recordings.
 TRY THESE:
Here are some suggestions for miking various instruments:

Vocals: A large diaphragm cardioid condenser is frequently used,

but dynamic mikes can also be effective. Mikes are usually placed
fairly close to singers (within 12 inches or so), directly in front of the
vocalist’s mouth.
AKG D40 is a dynamic mike de-
acoustic guitar: One or two mikes are typically placed close to the signed for drums and percussion,
guitar. For example, a cardioid condenser mike could be placed eight wind instruments, and guitar amps.
to 12 inches from the guitar body (moving further away for more ambi- (MSRP: $160)
ent sound) with a second placed halfway up the neck. Alternatively, a
matched pair of condenser mikes can be placed in an XY configuration
about 18 inches in front, and slightly below, the guitar.

electric guitar: One technique is to use a dynamic microphone

directly in front of the amp’s grill. The tone can be changed by using
Shure Beta 57A is a dynamic mike
different types of mikes and/or repositioning it.
for vocals and instruments including
brass/saxophone, amps, acoustic gui-
BASS: Electric bass recording is similar to that of an electric guitar, tar, and percussion. (MSRP: $174)
but recording an acoustic bass is more challenging. For acoustics,
try positioning a (small or large diaphragm) condenser mike below
the f-holes and angled upwards at the bridge. Alternatively, place a
directional mike below the neck joint above the f-holes, aimed at the
body of the bass, or use a directional mike near the bottom of the bass, Audio Technica ATM
just below the bridge. 350 is a clip-on con-
denser mike ideal for
PIANO: Because of its size, range, and mechanical noise, a piano can brass, piano, violin, and
be tricky to mike. Try using two cardioid condensers in a spaced pair toms. (MSRP: $489)
above the treble and bass strings.

DRUMS: Drum miking is complex and more than four mikes are often
used in recording. For snares and hi-hats, a dynamic microphone or
cardioid condenser is often positioned slightly above the snare, with
possibly a second mike below the snare and angled upwards. An ad-
ditional small diaphragm condenser mike, carefully positioned away
from the edges, can be used for hi-hats. A dynamic mike is often used
on the kick drum. It can be positioned on the front, opposite the Shure PG81 is a sensitive, flat response,
beater, or directly inside the drum. For tom-toms, directional mikes can cardioid condenser mike, ideal for
be placed above the heads, near the edge of each drum, or a single acoustic instruments such as bass,
mike can be placed between the toms. Small-diaphragm mikes can cymbals, woodwinds, guitar, and piano.
be used to enhance the brilliance of cymbals. Finally, two overhead (MSRP: $161)
mikes are sometimes used to capture the entire drum set along with
the ambient room sounds.
Shure KSM44A is a
SAXOPHONE: A large-diaphragm condenser microphone can be high-end microphone.
positioned about a foot away and slightly higher than the bell. It This large diaphragm
should be angled toward or just above the bell. Alternatively, try us- condenser is great for
ing a clip-on mike. many recording applica-
tions, including vocals,
BRASS: Different mikes can be used with brass instruments, depend- acoustic stringed instru-
ing on the effect you want to create. A condenser mike yields a more ments, cymbals, and
brilliant tone and dynamic mikes tone down the “brassy” sound. Try po- piano. (MSRP: $1,249)
sitioning the mike to the side of the bell and about 18 inches away.

www.MakingMusicMag.com 35