Microphone Positioning: Acoustic String Instruments

Experimentation with mic placement provides the ability to achieve accurate and pleasing sound reproduction on these complex sound sources. It is also an opportunity for exploring sound manipulation, giving the studio engineer many paths to the final mix. Whether you are involved in a music studio, a commercial studio, or a project studio, you should continue to explore different methods of achieving the desired results. The possibilities are limited only by time and curiosity.

Acoustic Guitar (Also Dobro, Dulcimer, Mandolin, Ukelele)

Microphone Positioning Acoustic Guitars



When recording an acoustic guitar, try placing one mic three to six inches away, directly in front of the sound hole. Then put another microphone, of the same type, four feet away. This will allow you to hear the instrument and an element of room ambience. Record both mics dry and flat (no effects or EQ), each to its own track. These two tracks will sound vastly different. Combining them may provide an open sound with the addition of the distant mic.

Giving the effect of two completely different instruments or one in a stereo hallway may be achieved by enhancing each signal with EQ and effects unique to the sound you want to hear. Try the previously mentioned mic technique on any acoustic instrument. Attempt to position the mic in different areas over the instruments, listening for changes in timbre. You will find different areas offer different tonal characteristics.

Soon you should develop “an ear” for finding instruments’ sweet spots. In addition, the artist and style of music should blend with your experiences and knowledge to generate the desired effect.

Acoustic Guitar

Microphone Placement Tonal Balance Comments
8 inches from sound hole
(see left image below)		 Bassy Good starting placement when leakage is a problem. Roll off bass for a more natural sound (more for a uni than an omni).
3 inches from sound hole Very bassy, boomy, muddy, full Very good isolation. Bass roll-off needed for a natural sound.
4 to 8 inches from bridge (see right image below) Woody, warm,
mellow. Mid-bassy,
lacks detail		 Reduces pick and string noise.
6 inches above the side, over the bridge, and even with the front soundboard Natural, well-balanced, slightly bright Less pickup of ambiance and leakage than 3 feet from sound hole.
Miniature microphone clipped outside of sound hole Natural, well-balanced Good isolation. Allows freedom of movement.
Miniature microphone clipped inside sound hole Bassy, less string noise Reduces leakage. Test positions to find each guitar’s sweet spot.
Microphone Positioning Acoustic Guitars



 

Banjo

Microphone Placement Tonal Balance Comments
3 inches from center of head Bassy, thumpy Limits leakage. Roll off bass for natural sound.
3 inches from edge of head Bright Limits leakage.
Miniature microphone clipped
to tailpiece aiming at bridge		 Natural Limits leakage. Allows freedom of movement.

 

Violin (Fiddle)

Microphone Placement Tonal Balance Comments
A few inches from side Natural Well-balanced sound.

 

Cello

Microphone Placement Tonal Balance Comments
1 foot from bridge Well-defined Well-balanced sound, but little isolation.

 

All String Instruments

Microphone Placement Tonal Balance Comments
Miniature microphone attached to strings between bridge and tailpiece Well-defined Minimizes feedback and leakage. Allows freedom of movement.

 

Acoustic Bass

Microphone Placement Tonal Balance Comments
6 inches to 1 foot out front, just above bridge Well-defined Natural sound.
A few inches from f-hole Full Roll off bass if sound is too boomy.
Wrap microphone in foam padding (except for grille) and put behind bridge or between tailpiece and body Full, "tight" Minimizes feedback and leakage.

 

Harp

Microphone Placement Tonal Balance Comments
Aiming toward player at part of soundboard, about 2 feet away Well-defined See “Stereo Microphone Techniques”
section for other possibilities.
Tape miniature microphone to soundboard Full Minimizes feedback and leakage.

 

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Guitar Microphones

SM27
SM57
Beta 57A
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