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Microphones: Techniques for Instruments
There are several situations where microphones may be required for musical instruments. A specific instrument may need additional sound reinforcement through the main loudspeaker system. The musicians and vocalists may need to hear more of one instrument in their platform monitors. To improve your tape ministry, and/or the hearing assistance system, you may need microphones dedicated to the recording mix. To determine the correct microphone to use and where to place it, consider the application(s) and the desired end result. 
Microphone techniques are subject to variables such as the quality and type of microphone, the condition of the microphone, the room acoustics, and the performance characteristics of the sound system or recording equipment. Consider also the quality of the musical instrument, the playing style of the musician, and other related limiting factors.
The best approach to successful microphone technique is to become familiar with every microphone in your inventory, and to take the time to listen to each musical instrument before you do anything with a microphone.
For the purposes of this discussion, there are two basic types of microphones: vocal microphones and instrument /ensemble microphones. Vocal microphones are designed for up-close use. They usually have an integral grill screen/pop filter. This grill screen is usually a perforated metal grill shaped into a ball or rounded sphere. 
Figure 1
Vocal microphone with a rolled-off bass response.
Although instrument microphones can be, and often are, used very close to the instrument, they are designed for more distant use. The primary difference between vocal microphones and instrument microphones is the low-frequency response of the microphone. In Figure 1, the response curve of the vocal microphone has a rolled-off bass response which compensates for the bass-boosting proximity effect that occurs with most directional microphones when used up close. Notice the instrument microphone response in Figure 2 is relatively flat at lower frequencies. When used at a distance of more than one or two feet, the instrument microphone will have a warmer, more natural "sound" than a vocal microphone used in the same manner. 
Figure 2
The instrument microphone's response curve is relatively flat.
In most situations, you will be using directional microphones. It is important to determine the "front" of the microphones. Make certain you know the directional pattern of the microphone you're using. If you are unsure about the pattern of your microphone, call us for further advice.
It is also just as important to know the "back" of the microphone. Move the microphone around in a circle while talking into it. The point where the least amount of sound is heard is the back of the microphone. NOTE: This position will differ with more highly directional microphones such as supercardioid or hypercardioid types. Whenever possible, point the "back" of the microphone toward any other instrument close to the instrument you are trying to reinforce or record. This will help reduce "stage noise." You may also want to aim the "back" of the microphone toward any nearby monitor loudspeaker to help reduce feedback problems. 
The following are some general guidelines: * Listen, then think, then do. * Listen to the microphone individually. * Try changing microphones or microphone positions before using any tone control. * Remember where you were before you change something. You may want to go back to a previous setting. * Less is more. * Don't do anything unless you think you can make a difference.
by Travis Ludwig © 1996 Internet Sound Institute (www.soundinstitute.com). This article is for personal use only. Any commercial reproduction is not permitted without permission. To obtain permission, contact ISI at hopi@soundinstitute.com
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