You’ve probably heard the saying “it’s not about the mic, it’s about the room”. Well, that’s only half true. In reality, it’s about both the room and the mic. The best microphones money can buy will still sound terrible if positioned incorrectly in a bad-sounding room. If you want to achieve good sound quality while recording vocals, instruments, or voiceovers, it’s crucial to learn the basics of mic placement and room acoustics.
A properly recorded track means less editing and mixing, and a greater focus on the performance. By mastering these basics you can guarantee that your recordings will be free of noise, well-balanced, and full of personality.
Here are some of the most common microphone categories. Learning about them will help you decide which one best fits your needs.
Microphones vary in how they pick up sound, and it’s essential to use the correct type for your intended application.
Moving Coil Microphones
Dynamic mics are rugged, can withstand high SPLs, and are often used on loud sources like drums, guitar amps, and live vocals. They can be somewhat lacking in the high frequency response department, but their ruggedness makes them common in studios everywhere.
Condenser Microphones
The condenser microphone has a larger diaphragm that’s capable of picking up a lot of detail in the higher frequencies. They are ideal for recording vocalists, acoustic instruments, and anything that requires a bit more delicacy. Condenser microphones need phantom power to function and are more prone to picking up the ambiance of the room.
The ribbon microphone is a type of dynamic microphone that uses a thin metal ribbon suspended between two magnets. Sound waves cause the ribbon to vibrate within the magnetic field, inducing an electrical signal. Ribbon microphones are known for their smooth, warm sound and are often used for capturing vocals, acoustic instruments, and live performances.
Ribbon: Warm and natural with no hard highs. Great for brass, strings and classic vocal tones. They’re more fragile and you have to be gentle with them, but can sound great.
Knowing what type of mic to use for a specific source.
The type of sound, the way it is played, and where it’s recorded are all considerations for microphone selection. Such as:
Placing a dynamic mic close to a guitar amp brings out its percussiveness.
Placing a condenser microphone in the room will allow you to pick up the whole sound of the acoustic guitar.
Brass instruments: Ribbon microphones can soften the bright highs of brass instruments.
Choosing the right microphone for the sound source and for the sound you are going for is the first step to achieving a professional recording.
Miking Basics
The placement will affect the tone, the definition and the overall level of the sound that’s being captured. It makes a huge difference even with tiny movements.
Space
The proximity effect creates a low-frequency emphasis when a directional mic is positioned extremely close to a source. This can create warmth in the voice or bass instrument, or muddiness in many other sources. It can also be used to find a pleasant balance of warmth and clarity by playing with mic-to-source distance.
Angle and Orientation
Mic placement angles can have a significant impact on the tone and definition of sound. Angling a mic a bit off-axis can eliminate excessive brightness or sibilance while still yielding a full tone.
Stereo Methods
XY, ORTF and spaced pair are examples of methods used for the stereo recording of instruments or ensembles, which gives the listener a sense of space and width, distance and separation.
Room Acoustics: The Hidden Roommate
The room itself plays a large role in the personality of your recording. You don’t want reflections, resonance, or absorption to cause your recordings to sound lifeless or boxy. Learn to use your space.
Reflection and Absorption
A hard surface will reflect sound and may give you the sense of excitement you desire or also create an excessive echo, and a soft surface will absorb sound, which will temper excessive harshness and decrease reverb. Absorptive panels, carpeting, and curtains used judiciously can handle problematic frequencies.
Size and Shape of the Room
Larger rooms will have a longer decay time, which is great for orchestras, but not so great for close-miked vocals. Smaller rooms will sound boxy and unnatural. Understanding the acoustics of your space will help you decide on microphone placement and source placement to work with the room.
Background Noise and Isolation
Background noise or vibrations can ruin an otherwise excellent recording. Eliminate this issue by utilizing close-miking, baffles, or isolation booths. Background noise like the hum of an AC unit or computer fan can also be distracting.
Now that we’ve covered both placement and acoustics, let’s talk about what happens when we bring them together.
The best-sounding recordings are often a combination of microphone and room. Test different microphone distances and heights, mic angles, and room positions.
For instance:
Even trying a condenser a couple of feet back from an acoustic guitar in a corner of a room can give a nice sheen and warmth.
Placing a dynamic mic close to a snare and an absorptive pad behind it will cut down on reflections and give you a more solid sound.
Before we conclude, here are a few essentials to keep in mind when it comes to recording in a professional setting:
Experiment with Positions — Record a few test takes in various positions and then determine which position produces the best, most balanced sound.
Pop filters and windscreens – They’re for vocals. Pop filters are used to minimize plosive sounds. Windscreens are used to minimize sibilance and blasts of air.
Contextual Monitor – Monitor through reference headphones and speakers to assess the impact of placement on the mix later.
Document Settings. Record what microphones are used, the distance from the source, the mic angle, the acoustics of the room and other settings so you can repeat the recording setup when you want the same results.
Don’t Forget Mic Combinations – Using two mics on the same source (e.g. a close mic and a room mic) can add space and atmosphere.
Trial and Error
There are some rough guides, but the truth is that each source and each room is different. With trial and error you will figure out the best mic placement and where to treat the room. You will also learn how to tweak your sound simply by learning the subtle adjustments and how they change the sound.