Bill Gibson has spent the last 30 years writing, recording, producing and teaching music. He is well known for his production, performance and teaching.

Bill is Developmental Editor for Hal Leonard Performing Arts Publishing Group, President of Northwest Recording, serves on the National Advisory Board for the P&E Wing of the Recording Academy, is an instructor for Berklee College of Music and the Art Institute of Seattle. He has authored over 30 books, including his most recent book with Quincy Jones (Q on Producing) and his upcoming work with the legendary Bruce Swedien (The Bruce Swedien Recording Method).

1. Does the directional characteristic make a difference in the sound of the mic?

Absolutely!

Omnidirectional Mics hear equally from all directions, not rejecting sound from anywhere in the 360-degree sphere around the capsule. They have an open and natural sound and they’re used frequently in the studio when the engineer wants to include the sound of the room in the recording.

The danger in using an omnidirectional mic is that any room sound (ambience) that is recorded is there to stay. For most people it’s safer to record with a more directional microphone (cardioid or hypercardioid) and add any ambient sound artificially during mixdown. However, in a controlled and well-tuned acoustical environment, an omnidirectional mic is frequently the way to go because the close-miked vocal sound it captures is more open and less cluttered in the low and low-mid bands than a cardioid mic used in the same way. A singer who moves in very close to the omnidirectional mic sounds very intimate while retaining a more natural and clear tone.

Cardioid Mics directional characteristic prefer the front of the microphone (on-axis) and they reject sounds coming from behind the mic (off-axis). Microphones with cardioid polar patterns, such as the Beta 58 or SM58®, are typically better suited to close- than distant-miking applications. These mics exhibit frequency response characteristics that roll off in the low band to compensate for their susceptibility to the proximity effect—the boomy, bass-heavy sound we hear when a voice or instrument is extremely close to the mic (within less than a couple inches or so). Because they prefer the on-axis sounds, they help reduce the relative levels of room ambience and other sounds that are off-axis.

Bidirectional Mics are most sensitive to sounds in the front and back of the mic but they exhibit almost complete reject of sounds that come from the sides. Some large-diaphragm condenser mics, such as the KSM44, can be set to bidirectional configuration and ribbon mics, such as the KSM353 and KSM313, are naturally bidirectional. These mics are well suited to miking solo instruments or voice, but they also provide an efficient and convenient way to close-mike two vocalists—or other instruments—at the same time. Bidirectional mics exhibit the most extreme proximity effect, in comparison with cardioid and omnidirectional mics. Therefore, the close-miked sound they provide is sometimes too boomy and full to be useful. From a more distant perspective, however, bidirectional mics provide a very nice, full tone, which includes a little more acoustical ambience than a similar cardioid mic.

In a live sound reinforcement application, omnidirectional mics are the most prone to feedback. They don’t reject sound from any directional and are inappropriate for most applications. Also, keep in mind that floor and stand monitor positions are usually different depending on the mic choice. When using a cardioid pattern, there is usually less feedback with the monitor directly in front of the vocalist. When using a hypercardioid pattern, the monitor should be placed slightly to one side or the other in front of the vocalist for minimal feedback. If you look at the polar response graph for the specific mic, you’ll notice exactly where the mic is least sensitive—that’s the right spot for the monitor.

A mic like the KSM9 is a great choice for vocals in a live setting. It sounds like a studio condenser mic and it offers pattern selection between cardioid and hypercardioid.  The flexibility provided by selectable patterns makes a mic that would already be exceptional, even better.

Keep in mind that every singer is different. If you have a choice of mics and directional characteristics, simply select the pattern that sounds best for the vocalist or choose the pattern that provides the best feedback rejection. In the studio, a mic like the KSM44 is an excellent choice because the selectable pickup patterns let the engineer choose the texture, tone, and feel of the vocal track by simply changing between any of these directional characteristics.

2. Is handling noise really an issue? Aren’t all mics about the same?

Yes. Handling noise is an important issue, especially in a live setting.

Many studio mics aren’t designed to be handheld. They’re placed in specially designed shock mounts that protect them from vibrations, bumps, and thumps. However, mics that are used in a live handheld environment must contain ample internal shock mounts and vibration control.

If you line up ten different mics on stands, you’re likely to notice dramatic differences in the sound caused by simply removing each mic from its clip. Some mics even rumble in normal handheld use. They don’t sound good although they don’t sound terrible, but the amount of handling noise they produce makes them completely unusable. Just shifting the mic in your hand causes a dramatic rumble—the sound of putting them in and out of the clip is unacceptable.

Mics that exhibit excessive handling noise also pick up excess amounts of noise from anything that moves on, or vibrates, the stage, such as footsteps, the kick drum, the bass cabinet, dancing, and so on. One of the reasons for the popularity of the SM and Beta series mics from Shure is excellent design of their internal shock mounting systems and their minimal handling noise.

3. How close should the lead vocalist be to the mic?

This question is usually borne out of the frustration that the sound operator feels when working with a singer who has bad mic technique.

It’s common for an inexperienced sound operator to tell the singers to just stay close to the mic (within an inch or less). That’s definitely not the best approach, but it puts control in the hands of the sound operator.

Vocalists must learn to move closer to the mic when they are quiet and farther away when they’re loud—the actual distances depend on exactly how quiet and how loud. In addition, speaking too close to the mic can decrease intelligibility and clarity. The overall volume of the house mix, the size of the audience, and the acoustics in the room are also considerations in mic technique.

Work with each singer to determine the mic technique that works the best for him or her. Determine three ranges of mic distances for three separate purposes:

The “I’m singing background” distance—usually 1.5 to 3 inches (2 fingers to 4 fingers).

The “I’m singing a quiet, intimate lyric” distance—usually 1 inch or less (1 finger or less).

The “I’m really belting it out and I don’t want to hurt someone’s hearing” distance—usually 6 inches to arm’s length, depending on the singer, the song, the instrumentation in the band, and the size of the room.

4. Our lead singer gets lost in the mix and yet there are times when she’s way too loud. How can I get a smooth and even vocal sound, like the sound I hear on professionally produced recordings?

Considering that your singer has good mic technique and you’re riding the vocal levels to help with global differences between levels for speaking and belting, the sound you’re looking for is probably a result of compression. A compressor is an automatic volume control that responds to the strength of the incoming signal. The sound operator sets a threshold level. When the signal strength exceeds that threshold, a built-in amplifying circuit—typically a VCA (voltage controlled amplifier)—turns the signal down.

A compressor is essentially an automatic sound operator. Like you, it turns the signal down when it’s too loud and then back up to where it started when it’s not too loud. The attack time, release time, and ratio controls let you determine whether the compressor acts like a Masserati or the giant in Jack and the Beanstalk.

Compressors only turn the signal down—they don’t boost levels. However, the effect of compression is to enable the nuance in the vocals to be heard better. Because the loud parts are turned down, the entire channel can be turned up. The gain reduction meter indicates the amount of gain reduction. If it shows that the channel is being turned down by 6 dB at the loudest parts of the performance, then the entire channel can be boosted at the channel fader or at the “Makeup Gain/Output” control on the compressor. This results in the loud passages being the same volume as they would have been but the softer passages, vocal nuance, and emotional inflections have been turned up by 6 dB—they are, therefore, more audible to the audience.

Setting up a compressor is really pretty simple:

1. Set the ratio control to determine how extreme the action is—typically between 4:1 and 7:1 for vocals. If the ratio is x:1, for every x dB that exceeds the threshold, the VCA will only let 1 dB through.
2. Set the attack time—typically between 5 and 10 milliseconds.
3. Set the release time—typically about 1/2 second.
4. Adjust the threshold so that there are times when there is no gain reduction and times when there are about 6 dB of gain reduction.
5. Boost the Makeup Gain/Output control to makeup for the gain reduction.

Often, recordings are extremely compressed. In a live setting, be aware that if the compressor is reducing the gain substantially during a performance, once the performance is over, the VCA will let the signal return to its original level—this can easily cause massive feedback. The amount of compression you use in a live performance is dependent of the amount of gain before feedback in your system. In a live application, it’s usually best to compress by 6 dB or less.

5. Should I always buy a mic with a flat frequency response curve?

No. Part of the reason for differences in response curves is the intended application. If you use a mic with a flat frequency response on a live, close-miked vocalist, the sound will be thick and muddy because of the proximity effect. If you use a mic that’s designed for close-miking, for instance, a distant mic on an acoustic ensemble, the sound will be far too thin and weak.

The SM58® or Beta 58 have frequency response curves that roll off in the low end with a presence peak in the high end. This fact doesn’t make it a lower quality mic than a mic like the KSM32 or KSM141 that exhibits a flat frequency response—it just makes them better suited to close miking than distant miking.

When a handheld vocal mic is close to the singer’s lips—within a few inches—the proximity effect rounds out the lows so they are essentially flat. Low frequency response is determined by mic distance. The built-in presence peak helps provide a clear and understandable vocal range. Notice that these presence peaks are typically between 4 and 7 kHz—strategically positioned in the range of vocal sibilance and intelligibility.

Mics with a flat frequency response curve are best suited to distant-miking applications in which the mic is a foot or more from the source, and yet a full sound is desired. Many condenser mics exhibit a very flat frequency response; however, they often provide a low frequency roll-off switch to compensate for the proximity effect when used in a close-miking application.

6. What’s the difference between miking a vocalist in a live performance and miking a vocalist in the studio?

The difference is really much less than it used to be before the KSM9.

In a live setting, we use vocal microphones designed for close-miking. They have historically been moving-coil mics because of their dependability, ruggedness, and simplicity; however, moving-coil mics don’t capture the fine transient detail as accurately as condenser mics.

In the studio we have historically used large–diaphragm condenser mics for vocals. Since the acoustics are controlled in a studio and leakage isn’t a consideration, most studio vocals are recorded from a distance of 6 to 12 inches. Sometimes, the singer moves closer, but the mic might be set to an omnidirectional configuration so the sound isn’t too thick and muddy or the low-frequency roll-off might be applied to compensate.

The vocal sound is adjusted by moving the mic across a much greater distance range than in a live setting. In addition, many professional studios have excellent acoustics—the sound of the room blends very well with the vocal to provide a desirable character and personality.

The KSM9 utilizes a studio-quality condenser capsule that provides the type detail that’s expected in a studio sound. It is housed in a body that feels good in the hand and the capsule sits in a well-designed shock mount system—it sounds great and rejects handling noises and vibrations very efficiently.

New for 2012: Bill’s “The Ultimate Live Sound Operator’s Handbook: 2nd Edition,” a 428-page book, including a DVD full of excellent audio and video examples.

In addition, Bill recently released “Q on Producing,” the first of three books he’s writing with the legendary Quincy Jones.

Here we are, fresh into 2012, and what better way to kick of a new year than with a great new album!

Darrin Vincent, one half of Bluegrass super group Dailey & Vincent strolled down the hall with a copy of their new record, The Gospel Side of DAILEY & VINCENT, along with some coupons for breakfast at Cracker Barrel for my family (Thanks Darrin!) If you are not familiar with the works Dailey & Vincent yet, this is a great place to start.

The first track, “Living in the Kingdom of God”,  is written by Darrin’s partner Jamie Dailey and the fantastic harmonies that have made this group so popular work their magic all through this record.  Halfway through the record, there’s a track called “Family Bible” written by Willie Nelson.  For this track, Darrin brought in his parents, Johnny & Carolyn, to harmonize with him.  Pictured below are the three singing into a pair of KSM44‘s while Darrin is sporting a set of Shure SRH440 headphones.

Another fun track called “Noah Found Grace in the Eyes of the Lord” showcases the bass vocal talents of group member Christian Davis.

Other songs covered on this CD on the Cracker Barrel Old Country Store label include: “Come Back to Me” written by Jimmy Fortune, “Daddy Sang Bass” by Carl Perkins and “Welcome Home” by Dolly Parton.

Next time you are on a road trip and see that Cracker Barrel logo coming up on the next exit, take a break, order up the Old Timer’s breakfast and then grab a copy of this CD on your way out. You’ll be singing along in no time!

Ryan

Music City Roots – The Civil Wars & more

Loveless Cafe, West Nashville, TN

My musical roots were planted by my parents. Great music was always playing  in our house while we cleaned or worked on projects.  The Carpenters, John Denver, Tom Jones, Elvis Presley, The Doobie Brothers,Fleetwood Mac and Simon and Garfunkel.  These were my early music mentors and it is still a wonderful feeling to hear these songs today, even through my iPod.  Back then, it was all vinyl through a great sound system and finally through a set of heavy Zenith Allegro speakers.

As I grew older, my older brother took drum lessons and I was introduced to early Chicago, Kiss, Led Zepplin, Rush, REO Speedwagon, and Cheap Trick.  When it came time for me to pick an instrument, I felt I was born to play the drums.  At the time, my father felt that having two drum sets in the house was a bit much, so I chose the guitar. After about 6 months of lessons, I begged my father to let me get a drum kit.  He gave in and I’ve been playing every since.

Late in High School, I was introduced to the world of Jazz and musicals.  I was fortunate enough to be a part of a full big band called Suburban Swing.  These were some of the best times of my life musically.  I learned so much about playing with a group and how to control my playing so the lead parts could be heard.  We played all the Jazz standards as well as played many musicals together. I still keep in touch with that band director today and we are hoping to have a musical reunion of sorts in the next year or so.

Since I’m now located in Nashville, I get to attend certain shows were the song is sung by the original writer and it helps to paint an even better picture of the song, because you can hear what he or she originally intended.  Every once in a while, I hear about a new group “in the wind.”   A couple of weeks ago, I got to see The Civil Wars in Chicago.   They brought me back to my musical roots, back at my house, listening to Simon & Garfunkel and the magic that a duo can have.

So tonight, I went out to West Nashville to the Loveless Barn because when it’s good, you just can’t seem to get enough of it (and I’m not just talking about The Loveless Cafe’s world famous biscuits).  I can relate to this group because they renew in me the passion for executed music and well blended harmonies.  John Paul and Joy both brought along their KSM9‘s and the KSM313 for guitar amp and, like the last time, the place was packed. This evening was also very special as long time Bluegrass favorites Cherryholmes would play their last Nashville show as a family. I have also watched this group grow up and become big news in the Bluegrass world.  They were sporting 2 KSM44 condensers for the lead vocal spots.

So let’s talk about YOUR roots.

What is it about certain bands that takes you back to where you grew up or what you grew up listening to?  Is it by accident, on purpose, or something else?  We would love to hear about your musical roots.

Ryan

Here’s a rudimentary primer for miking the rhythm section: guitars, bass, piano, and drums.

This quick overview should help minimize the deer-in-the-headlights feeling you may experience when faced with a daunting live-sound situation – like when you put up an open mic on a stage peppered with monitors, only to elicit the screeching howl of the dreaded feedback monster.

Start with the Right Mics

The best way to figure out where to place a mic is to listen to the source – in this case, the instrument or amplifier. Try using only one ear to simulate the mono pickup of a mic, and listen up close and also from a few feet away. How does the instrument radiate sound? Put the mic where the instrument sounds best to your ear. Sometimes two mics are necessary to capture the full range of a particular instrument.

You’ll always need to use unidirectional microphones in live situations, for isolation of sound sources and to avoid feedback problems with the monitors.

If you have problems with the monitors, mics with a tighter pickup pattern (hypercardioid or supercardioid) are best. For area miking (that is, drum overheads), you can use a transducer with a wider pickup pattern. In most circumstances, you will want to put the mic as close to the instrument as possible without interfering with the player’s range of motion. This will ensure a more focused sound with less ambient reverberation and bleed from the other instruments onstage.

The Match Game

Mics have different frequency response characteristics that make them more or less appropriate for specific applications. Analyze the quality of an instrument’s sound to decide which mic best suits the job.

If the instrument is soft, a tight-pattern condenser might be just the thing for getting a hotter output.

If the instrument is loud, choose a mic that can handle high SPLs.

Is it bright? Try a mic that will impart a little warmth.

Does it have lots of midrange? Perhaps a Shure SM57 would be a good match.

Does it sound bassy? Try a large-diaphragm dynamic to capture the lows fully.

Guitars

Electric guitars

The electric guitar is perhaps the simplest instrument to mic, given that an instrument mic aimed at the amp’s speaker always does the job well.

There are two primary schools of thought for miking a guitar cabinet. Either point the microphone straight into the cabinet and directly at the speaker’s voice coil (the advantage being consistency of sound), or put the mic on the edge of the speaker and angle it into the voice coil (for less spiky mids). In both cases, you should place the mic right up against the grille.

Consider this type: Unidirectional dynamic microphone

Shure mic: PG57, SM57

Acoustic guitars

Any condenser microphone works well for miking an acoustic guitar, as long as the stage sound isn’t too cluttered or loud. If the volume is cranked up and the guitar needs to go through the monitors, you may prefer a dynamic mic with good high-end response to get sufficient gain before feedback.

If the guitarist has a pickup, try taking it direct. If the sound is too dry and the guitarist is using a lot of effects or EQ at the amp, you may need to mic the amp, using the same approach as for miking an electric guitar amp, and combine that sound with the direct signal. You could also mic the guitar itself and blend that with the direct signal for a fuller sound.

Consider this type: Condenser or unidirectional dynamic microphone
Shure mic: PG81, SM57, KSM32

Electric or Acoustic Bass

Electric Bass

Although it’s standard practice to send the bass direct through the P.A., in some circumstances an engineer will also mic the bass cabinet. The mic you choose should capture lots of low end. Large-diaphragm dynamics are good choices.

If the bass cabinet has a mix of 10-inch and 15-inch speakers, you have a couple of options. For more low-end oomph, put a mic on the 15-inch speaker. If you’re a funky slap-and-pop bass player, try putting a mic on one of the 10-inchers or on the horn for more high-end definition and better transient response. Keep in mind that the direct injection (DI) box will give you plenty of low-end fundamentals and that extra twang, so a little lower midrange support from a miked cabinet can fill out the sound.

Consider this type: Unidirectional dynamic microphone
Shure mic: PG52, SM57, Beta 52®A

Acoustic upright bass

It is desirable to take a direct signal from an acoustic bass pickup, though most double-bass players (especially jazz cats) wrinkle their noses at DIs because they never sound the way players like them to sound. In such a case, you should also mic the bass. It’s prudent to retain the option to use the direct sound, however, because in a loud situation where you may not get enough gain or definition from the mic, you can still boost the level to give the bass presence in the mix.

The output of an acoustic bass is relatively low, so you have to put the mic in as close as possible. Unidirectional mics are prone to proximity effect (a boost in the low frequencies) when placed very close to a sound source, so you may need to roll off some of the lows. You can fasten low-profile microphones to the tailpiece, to an f hole, or to the ridge that’s just above the waist of the instrument. Don’t clip them on the bridge – that can inhibit vibrations.

Consider this type: Condenser microphones – cardioid instrument and gooseneck types
Shure mic: KSM32, KSM44, KSM137, KSM141, Beta 98H/C

Keyboards

Electronic Keyboards

Most engineers prefer to get a direct feed on electronic keyboards. If the keyboardist has an amp and prefers that sound, you can mic the cabinet (as you would a guitar amp with a Shure SM57) and combine that sound with the direct signal.

Going direct or using a direct box is generally better, because you tend to get a cleaner sound. In the case of a Fender Rhodes suitcase piano, try going direct and miking the speakers on the piano to represent the Fender Rhodes sound fully.

Consider this type: Dynamic instrument microphone
Shure mic: SM57

Grand Piano

For miking grand pianos, engineers often favor condenser mics. Ideally, you should use a pair of mics to capture the low and high strings Place one mic several inches over the bass strings and the other over the high strings, and angle them apart for greater separation. The closer you get to the hammers, the more attack you’ll get; the farther away from the hammers, the mellower the tone will be.

If the environment is loud, try securing the mics inside the piano and closing the lid for greater isolation. You could also clamp the mics to the soundboard (using a piece of foam to protect the wood) with LP Claws or similar mic clamps. A single SM58 pointing into one of the soundboard holes will also do the trick if you have only one input and the piano is going through the monitors.

Consider this type: Condenser instrument microphone
Shure mic: PG81, SM81, KSM44

Upright Piano

Open the top and place a split pair of microphones inside, aiming slightly toward the hammers to capture both the low and the high keys. Condensers are preferable, but SM57s work quite well, too. You could also mic the piano from the back, taking time to find the sweet spot. Remember to listen – and to think from the mic’s perspective. Another option is to take the front off by the player’s feet and to mic the strings from that angle (if the player isn’t stomping the pedals or the floor too vigorously, that is!).

Consider this type: Condenser instrument microphone, dynamic instrument microphone
Shure mic: PG81 , SM57, KSM44

Drums

Drum sets vary in size, number of components, tonal quality, and head configurations. But most standard kits have a snare drum, a bass drum, a floor tom, one or more rack toms, a hi-hat, a ride cymbal, and a crash or two.

Snare Drums

A fat but crisp sound is desirable for snare drum, and a Shure SM57 is the workhorse for capturing this essence. A Beta 58A® can also sound very good on snare.

Place the mic at about 11 o’clock from the player’s perspective, between the hi-hat and the rack tom, about two inches from the head and angled toward it.

For more lows, angle the capsule closer in toward the head; for a crisper attack, move the mic slightly farther from the head and point it more toward the center of the drum.

If you want to get some extra sizzle from the snare wires for a funky sound, put an additional mic on the bottom head, pointing up at the wires. Use a dynamic that has a lot of high end and flip the phase of the mic on the bottom head to avoid phase cancellation.

Consider this type: Dynamic microphone
Shure mic: PG57, SM57, Beta 58A®

Kick Drums

A punchy kick-drum sound with a lot of low-end oomph makes the rest of the band really pump. Quite a few mics are designed specifically for kick-drum miking, including the Shure Beta 52®A.

Usually a kick drum will have a hole in the front head. Put the mic just inside the drum to start. For more attack, move the mic closer inside and aim it at the beater. For a fuller, rounder sound with less attack, draw the mic back farther and angle it slightly away from the beater. If there is no hole in the front head, start with the mic about two to four inches in from the rim and point it at the head, adjusting the angle to get the desired sound. Listen up close to the drum with one ear as someone plays, find the spot where it sounds the way you like, and put the mic there. Refrain from placing the mic at the very center of the drum – that’s a dead spot.

Consider this type: Kick drum microphone – dynamic or condenser
Shure mic: PG52, Beta 52®A, Beta 91

Toms

Miking toms can pose a challenge if a drummer has a lot of cymbal stands. Fortunately, you have the option of clip-on tom mics well as mic- that come in handy for fastening tom mics in place and neatly out of the way. Place the mic near the rim of the drum, pointing down at the head, and adjust the angle and distance for more low end or more attack. If you want greater separation, angle the mics apart.

Consider this type: Dynamic or condenser microphone
Shure mic: PG56, SM57, Beta 98AD/C

Hi-Hat and Cymbals

The use of overhead mics is standard for capturing the cymbals and the overall kit sound, and a split pair will pick up both sides of the kit. Condenser mics are ideal for overheads because of their excellent high end and natural transient response.

If you have only one overhead, place the mic centrally over the kit, and move it around to compensate for the playing style and the kit’s characteristics (that is, quiet ride cymbal, loud snare, and so on). Just keep the overheads out of the monitors to avoid feedback. If the hi-hat needs more bite, place a small-diaphragm condenser mic a few inches above the hi-hats, angled at the area just below the cup.

Consider this type: Condenser microphone
Shure mic: PG81, SM81

Finally…

Miking stage instruments is a subjective art, and there are nearly as many opinions as there are engineers. By now, though, you’ve picked up enough pointers to start miking the most ubiquitous instruments in standard venues.

If you have some time and the luxury of access to a variety of live-sound mics, the next step is to experiment a little with selection and placement before you have a show.

Keep in mind the constants – namely, the proper etiquette for avoiding feedback, and close miking with unidirectional mics for maximum pickup and isolation. Use this article as a guide, but remember: ultimately you should rely on your ears to determine the best mic placement for optimum sound.

About Karen Stackpole

Karen Stackpole got started in live sound reinforcement in 1988 and expanded into studio work in 1991. In 1997 she launched Stray Dog Recording Services, a mobile recording business, in addition to working on projects as a freelance live sound and studio engineer and drum tech.

Karen is an active member of Syn-Aud-Con and the Audio Engineering Society and is also a performing and recording drummer/percussionist. As a freelance writer she regularly contributes to Electronic Musician and DRUM! Magazines. In 1999 she joined the Sound Arts faculty at Expression College for Digital Arts and directs the Studio Maintenance course.

Visit Karen and Stray Dog Recording Services on MySpace .

SN thanks Karen and Electronic Musician magazine for allowing us to adapt the content that appears in this article.