4. Positioning

Whichever miking technique you opt for, the position of the mics can make a huge difference to the sound – even very small movements can radically alter the tone. Your eyes can be deceptive however - a great way to position mics is to close your eyes and monitor on a good pair of closed-back headphones. Let your ears be the judge of what sounds best, as the most odd-looking position can often work very well.


The mic should generally be aimed at the area where the neck joins the body, at a distance of around 30cm. This can be increased to 60cm or more, but only in a good sounding, quiet room. Pointing the mic slightly towards the left hand will help to capture more detail, whereas a softer sound can be achieved by pointing towards the sound hole, but this may give too much bottom end unless you also raise the mic vertically by a few centimetres. As always, listening is the key!

Pseudo Stereo: Multi-mic

There is no other single mic position that gives as consistently good results as the area around the neck joint. However, a second mic is often employed, pointed towards the area around the bridge - this position tends to sound rather thin and nasal on its own, but a large diaphragm mic can add warmth. By blending this with a small diaphragm mic in the traditional position and panning left and right, you can achieve a big, wide sound. The bridge mic is generally mixed lower than the neck/body mic, but the beauty of this technique is that by recording to separate tracks, the balance and overall character can be adjusted at mixdown.

True Stereo: X-Y Pair

True stereo techniques can also be used to good effect. The most obvious is the X-Y pair, where two cardioid microphones are placed with their capsules as close together as possible, one just above the other, at an angle of approximately 90 degrees.

Positioning can be critical here. Getting the best neck/body sound at the same time as the best bridge sound can be tricky. Small variations in the angle between the mics and overall distance can have a significant effect. Again, keep listening as you go.

True Stereo: Mid & Side Recording

In the standard version of this stereo recording method, a cardioid or supercardioid microphone is pointed towards the source, and a figure-8 mic is placed at 90 degrees, directly above or below.

The ‘mid’ (mono) signal comes from the cardioid mic. The ‘side’ signal from the figure-8 mic provides phase and level information for the stereo image. A complete stereo signal is achieved by splitting the side signal and feeding it to two channels, one of which is phase inverted. These two channels are then panned hard left and right, while the mono signal is panned centrally - the stereo image ‘widens’ as the level of the side signals is raised relative to the level of the mid signal.

M&S recording can produce a very coherent stereo image, and unlike other stereo recording methods, it is completely mono compatible, which is important for TV and radio. When a M&S recording is summed to mono, the side channels cancel out completely, leaving just the central mono signal. For this reason the M&S array should be positioned as though it were a mono mic. As the side mic is not pointing directly at the instrument, this technique can introduce unwanted colouration and background noise, and its selection therefore depends much on the ambient noise level and sound of the room.

Some mixers and mic pre-amps feature integrated M&S decoding. This is convenient, but not essential as long as you have a phase switch and some way to split a signal. This can be done very easily with most hard disk recording software.

N.B. Many close-miking techniques can be given added ambience by using an additional mic placed further back to capture the sound of the room. This technique should never be used with M&S recording however, because the stereo picture is entirely a product of phase relationships between the M and S channels, which an ambient mic signal will confuse and usually completely destroy. For the same reason, the two side faders should always be set at exactly the same level and moved together – the easiest way to ensure this is to use software or an automated desk to group them.

Uw contactpersoon
Tel: +49-9546-9223-35
Fax: +49-9546-9223-24
Tel: +49-9546-9223-20
Fax: +49-9546-9223-24
Onlangs bekeken
Behringer Pro-1

Analogue Synthesiser Dual VCO design based on CEM3340, Sawtooth and pulse waveform for VCO A, Sawtooth, Triangle and Pulse waveform for VCO B, Pulse Width Modulation, Noise generator, 24 dB low-pass filter with resonance, 2 ADSR envelopes for VCF...

Onlangs bekeken
Mackie ProFX12v3

12-kanaals mixer 7 microfooningangen met 3-bands EQ, 4 inserts en 4 single-knob compressoren, Kanalen 5-10 hebben microfooningangen en stereo lijningangen, 1x 3,5 mm stereo jack line-ingang, 2x4 USB-interface, Ingebouwde GigFX-effecteenheid met 24 effecten, 100 Hz low-cut filter, 2 Hi-Z-schakelaars,...

Onlangs bekeken
Singular Sound Aeros Loop Studio

Singular Sound Aeros Loop Studio; Effects Pedal; 4.3" touch-enabled screen with color coded cues and waveforms; 6 parallel tracks and 6 song parts for a total of 36 distinct loops per song and in simultaneous parallel and sequential looping; Unlimited...

Onlangs bekeken
Levys Pad. Garm. Leather Strap 3" BK

Strap for electric guitar and electric bass Strap material: Leather, Length adjustment: Ladder adjustment system, Upholstery: Foam, Width: 76 mm, Length adjustable from 94 cm to 130 cm, MSS2 BLK, Colour: Black, Made in Canada

Onlangs bekeken
Harley Benton PB-20 SBK Standard Series

E-Bas Lindehouten body, Bolt-on esdoorn hals, Amaranth fretboard, Dot fretboardinlays, Halsprofiel: modern "C", Scale: 864 mm, Breedte nut: 42 mm, Double action trussrod, 20 fretten, Pickup: 1 PB-Style split coil, 1 volume en 1 tone control, Classic PB-Style mechanieken,...

Onlangs bekeken
Yamaha Bag THRBG1

Yamaha Special Bag THRBG1; original Yamaha Bag with THR5, THR10, THR10II, THR10IIW and THR30IIW; with shoulder strap, and outer pocket

Onlangs bekeken
Casio CT-S300

Keyboard 61 Velocity-Sensitive keys, 48 Voice polyphony, 400 Sounds, 60 Preset-Songs, Reverb, Volume Sync EQ, Learning Function, Automatic accompaniment, 77 Preset rhythms, One-touch preset, Dance Music mode, Registering, Pitchbend wheel, Connect to the free Chordana Play For Keyboard learning...

Onlangs bekeken
Universal Audio Apollo Twin X Duo

10 x 6 Thunderbolt 3 Audio Interface With UAD-2 DUO processor for almost latency-free recordings via plug-in emulations of classic compressors, EQs, tape machines, microphone preamps and guitar amplifiers, 24 Bit / 192 kHz AD / DA converter, 2...

Onlangs bekeken
Roland JU-06A

Synthesizer module Digital replica of the Juno-60 and Juno-106 synthesizers, 4-Voice polyphony, Based on ACB technology, Switchable between Juno-60 / Juno-106 mode, Arpeggiator and 16-step sequencer, Chord memory function, Analog clock input (3.5 mm Jack), Integrated USB audio interface:...

Onlangs bekeken
JHS Pedals Cheese Ball - Fuzz Distortion

Effectpedaal voor e-gitaar Fuzz distortion, Replica van de Lovetone Big Cheese, Analoge werking, True bypass, Controls voor volume, gain en tone, 4-standen schakelaar voor het selecteren van vier gain- en tonesettings, Bypass footswitch, Status LED, Metalen behuizing, In- en...

Onlangs bekeken
Takamine TKSS3 Guitar Strap Grasflower

Guitar strap Made by Levy's, Material: Suede leather, Width: 7 cm, Length adjustable from 100 cm - 140 cm, With Takamine Logo, Design: Grasflower, Colour: Black, Made in Canada

Onlangs bekeken
Mackie ProFX16v3

16-Channel mixer 11 Microphone inputs with 3-band EQ on all channels with variable medium-frequency control (channel 15/16 has a standard 3-band EQ), 8 Inserts and 8 single-knob compressors, The channels 9-14 have microphone inputs and stereo line inputs, 1x...

Geef feedback
Feedback Fout gevonden of wilt u feedback geven op deze pagina?

We kijken er naar uit om van u te horen en proberen elk probleem zo snel mogelijk op te lossen.