Archive for June 1st, 2009
Microphone Positioning To Get The Most Natural Sounding Track
One important element of getting a great sounding vocal track is mic placement. You have two issues to consider. One is the position of the mic in the room. The other is the position of the mic relative to the singer. Regarding the second issue, two primary factors affect the sound. One is the distance between the mic and the singer, and the other is the angle of the mic capsule relative to the singer.
With a condenser microphone in cardioid pattern, the closer the singer is to the mic, the more the bass frequencies are enhanced. This is called proximity effect, and experienced studio singers often use it to their advantage by moving closer to or farther from the mic, depending on the mood of the passage. A good starting position for a singer using a cardioid condenser mic is six to eight inches from the capsule. From there, if the voice sounds too thin, bright, or frail, have the singer move closer to the mic. But be careful, because moving in only two or three inches will increase bass response and fullness of sound dramatically. Conversely, if the sound is too big or warm, have the singer move back a bit. If the mic is omnidirectional, there will be no proximity effect. That is, bass frequencies will not be enhanced as the singer moves closer to the mic, although the mic will still register the sense of distance from the capsule.
This is the most natural sounding polar pattern, and it could be the right choice if the room is quiet and the acoustics fit the song. An omni pattern is especially useful for singers who move around a great deal as they perform, or for inexperienced studio singers who can’t seem to stand still. However, because an omni mic hears all parts of the room equally, it is not always a viable option. Just the same, thorough preparation includes auditioning each polar pattern available on the mic you’ve selected.