Shure - Microphone Use
A Shure Educational Publication
Microphone Techniques
Ta b l e o f C o n t e n t s
Introduction ........................................................................... 4
Microphone Characteristics .................................................. 5
Musical Instrument Characteristics..................................... 11
Acoustic Characteristics ..................................................... 14
Microphone Placement....................................................... 22
Stereo Microphone Techniques.......................................... 32
Microphone Selection Guide ............................................. 34
Glossary ............................................................................. 35
Live Sound
Microphone Techniques
Microphone techniques (the selection and placement of
microphones) have a major influence on the audio quality
of a sound reinforcement system. For reinforcement of
musical instruments, there are several main objectives of
microphone techniques: to maximize pick-up of suitable
sound from the desired instrument, to minimize pick-up of
undesired sound from instruments or other sound sources,
and to provide sufficient gain-before-feedback. “Suitable”
sound from the desired instrument may mean either the
natural sound of the instrument or some particular sound
quality which is appropriate for the application. “Undesired”
sound may mean the direct or ambient sound from other
nearby instruments or just stage and background noise.
“Sufficient” gain-before-feedback means that the desired
instrument is reinforced at the required level without ringing
or feedback in the sound system.
Obtaining the proper balance of these factors may involve
a bit of give-and-take with each. In this guide, Shure
application and development engineers suggest a variety of
microphone techniques for musical instruments to achieve
these objectives. In order to provide some background
for these techniques it is useful to understand some of
the important characteristics of microphones, musical
instruments and acoustics.
Microphone Techniques
Microphone Characteristics
The most important characteristics of microphones for live
sound applications are their operating principle, frequency
response and directionality. Secondary characteristics are
their electrical output and actual physical design.
Operating principle - The type of transducer inside the
microphone, that is, how the microphone picks up sound
and converts it into an electrical signal.
A transducer is a device that changes energy from one
form into another, in this case, acoustic energy into
electrical energy. The operating principle determines some
of the basic capabilities of the microphone. The two most
common types are Dynamic and Condenser.
Dynamic microphones employ a diaphragm/ voice
coil/magnet assembly which forms a miniature sounddriven electrical generator. Sound waves strike a thin
plastic membrane (diaphragm) which vibrates in response.
A small coil of wire (voice coil) is attached to the rear of the
diaphragm and vibrates with it. The voice coil itself
is surrounded by a
magnetic field created
by a small permanent
magnet. It is the motion
of the voice coil in this
magnetic field which
generates the electrical
signal corresponding to
the sound picked up by
a dynamic microphone.
Dynamic microphones have relatively simple construction
and are therefore economical and rugged. They can
provide excellent sound quality and good specifications in
all areas of microphone performance. In particular, they
can handle extremely high sound levels: it is almost
impossible to overload a dynamic microphone. In addition,
dynamic microphones are relatively unaffected by
extremes of temperature or humidity. Dynamics are the
type most widely used in general sound reinforcement.
Condenser microphones are based on an electricallycharged diaphragm/backplate assembly which forms a
sound-sensitive capacitor. Here, sound waves vibrate a
very thin metal or metal-coated-plastic diaphragm.
The diaphragm is mounted just in front of a rigid metal or
metal-coated-ceramic backplate. In electrical terms this
assembly or element is known as a capacitor (historically
called a “condenser”),
which has the ability to store
a charge or voltage. When
the element is charged, an
electric field is created
between the diaphragm and
the backplate, proportional
to the spacing between
them. It is the variation of
this spacing, due to the
motion of the diaphragm relative to the backplate, that
produces the electrical signal corresponding to the sound
picked up by a condenser microphone.
The construction of a condenser microphone must
include some provision for maintaining the electrical
charge or polarizing voltage. An electret condenser
microphone has a permanent charge, maintained by a
special material deposited on the backplate or on the
diaphragm. Non-electret types are charged (polarized)
by means of an external power source. The majority of
condenser microphones for sound reinforcement are of
the electret type.
All condensers contain additional active circuitry to allow
the electrical output of the element to be used with typical
microphone inputs. This requires that all condenser
microphones be powered: either by batteries or by
phantom power (a method of supplying power to a
microphone through the microphone cable itself). There
are two potential limitations of condenser microphones
due to the additional circuitry: first, the electronics
produce a small amount of noise; second, there is a limit
to the maximum signal level that the electronics
can handle. For this reason, condenser microphone
specifications always include a noise figure and a
maximum sound level. Good designs, however, have very
low noise levels and are also capable of very wide
dynamic range.
Condenser microphones are more complex than dynamics
and tend to be somewhat more costly. Also, condensers
may be adversely affected by extremes of temperature and
humidity which can cause them to become noisy or fail
temporarily. However, condensers can readily be made
with higher sensitivity and can provide a smoother, more
natural sound, particularly at high frequencies. Flat
frequency response and extended frequency range are
much easier to obtain in a condenser. In addition,
condenser microphones can be made very small without
significant loss of performance.
Microphone Techniques
Phantom Power
Phantom power is a DC voltage (usually 12-48 volts)
used to power the electronics of a condenser
microphone. For some (non-electret) condensers it
may also be used to provide the polariziing voltage for
the element tself. This voltage is supplied through the
microphone cable by a mixer equipped with phantom
power or by some type of in-line external source. The
voltage is equal on Pin 2 and Pin 3 of a typical
balanced, XLR-type connector. For a 48 volt phantom
souorce, for example, Pin 2 is 48 VDC and Pin 3 is 48
VDC, both with respect to Pin 1 which is ground (shield).
Because the voltage is exactly the same on Pin 2 and
Pin 3, phantom power will have no effect on balanced
dynamic microphones: no current will flow since there
is no voltage difference across the output. In fact,
phantom power supplies have current limiting which
will prevent damage to a dynamic microphone even if
it is shorted or miswired. In general, balanced dynamic
microphones can be connected to phantom powered
mixer inputs with no problem.
lightweight condenser diaphragm. It also takes
longer for the dynamic diaphragm to stop moving in
comparison to the condenser diaphragm. Thus, the
dynamic transient response is not as good as the
condenser transient response. This is similar to two
vehicles in traffic: a truck and a sports car. They may
have equal power engines but the truck weighs
much more than the car. As traffic flow changes, the
sports car can accelerate and brake very quickly,
while the semi accelerates and brakes very slowly
due to its greater weight. Both vehicles follow the
overall traffic flow but the sports car responds better
to sudden changes.
Pictured here are two studio microphones
responding to the sound impulse produced by an
electric spark: condenser mic on top, dynamic mic
on bottom. It is evident that it takes almost twice as
long for the dynamic microphone to respond to the
sound. It also takes longer for the dynamic to stop
moving after the impulse has passed (notice the
ripple on the second half of the graph). Since
condenser microphones generally have better
transient response then dynamics, they are better
suited for instruments that have very sharp attack
or extended high frequency output such as
cymbals. It is this transient response difference
that causes condenser mics to have a more crisp,
detailed sound and dynamic mics to have a more
mellow, rounded sound.
Transient Response
Transient response refers to the ability of a
microphone to respond to a rapidly changing sound
wave. A good way to understand why dynamic and
condenser mics sound different is to understand the
differences in their transient response.
In order for a microphone to convert sound energy
into electrical energy, the sound wave must
physically move the diaphragm of the microphone.
The amount of time it takes for this movement to
occur depends on the weight (or mass) of the
diaphragm. For instance, the diaphragm and voice
coil assembly of a dynamic microphone may weigh
up to 1000 times more than the diaphragm of a
condenser microphone. It takes longer for the heavy
dynamic diaphragm to begin moving than for the
Condenser/dynamic scope photo
Microphone Techniques
The decision to use a condenser or dynamic microphone
depends not only on the sound source and the sound
reinforcement system but on the physical setting as well.
From a practical standpoint, if the microphone will be used
in a severe environment such as a rock and roll club or for
outdoor sound, dynamic types would be a good choice.
In a more controlled environment such as a concert hall
or theatrical setting, a condenser microphone might be
preferred for many sound sources, especially when the
highest sound quality is desired.
Frequency response - The output level or sensitivity of the
microphone over its operating range from lowest to highest
Virtually all microphone manufacturers list the frequency
response of their microphones over a range, for example
50 - 15,000 Hz. This usually corresponds with a graph that
indicates output level relative to frequency. The graph has
frequency in Hertz (Hz) on the x-axis and relative response
in decibels (dB) on the y-axis.
A microphone whose output is equal at all frequencies has
a flat frequency response.
Flat response microphones typically have an extended
frequency range. They reproduce a variety of sound
sources without changing or coloring the original sound.
A microphone whose response has peaks or dips in certain
frequency areas exhibits a shaped response.
A shaped response is usually designed to enhance a sound
source in a particular application.
For instance, a microphone may have a peak in the 2 - 8
kHz range to increase intelligibility for live vocals. This shape
is called a presence peak or rise. A microphone may also be
designed to be less sensitive to certain other frequencies.
One example is reduced low frequency response (low end
roll-off) to minimize unwanted “boominess” or stage rumble.
The Decibel
The decibel (dB) is an expression often used in electrical
and acoustic measurements. The decibel is a number
that represents a ratio of two values of a quantity such as
voltage. It is actually a logarithmic ratio whose main
purpose is to scale a large measurement range down to
a much smaller and more useable range. The form of
the decibel relationship for voltage is:
dB = 20 x log(V1/V2)
where 20 is a constant, V1 is one voltage, V2 is the
other voltage, and log is logarithm base 10.
What is the relationship in decibels between
100 volts and 1 volt?
dB = 20 x log(100/1)
dB = 20 x log(100)
dB = 20 x 2 (the log of 100 is 2)
dB = 40
That is, 100 volts is 40dB greater than 1 volt.
What is the relationship in decibels between
0.001 volt and 1 volt?
Flat frequency response
dB = 20 x log(0.001/1)
dB = 20 x log(0.001)
dB = 20 x (-3) (the log of .001 is -3)
dB = -60
That is, 0.001 volt is 60dB less that 1 volt.
if one voltage is equal to the other they are 0dB different
if one voltage is twice the other they are 6dB different
if one voltage is ten times the other they are 20dB
Shaped frequency response
Microphone Techniques
Since the decibel is a ratio of two values, there must
be an explicit or implicit reference value for any
measurement given in dB. This is usually indicated
by a suffix on the decibel value such as: dBV
(reference to 1 volt which is 0dBV) or dB SPL
(reference to 0.0002 microbar which is 0dB Sound
Pressure Level)
1. Compare
2. Compress
10 =1
3. scale (x 20)
Decibel scale
for dBV or dB SPL
One reason that the decibel is so useful in certain
audio measurements is that this scaling function
closely approximates the behavior of human hearing
sensitivity. For example, a change of 1dB SPL is
about the smallest difference in loudness that can
be perceived while a 3dB SPL change is generally
noticeable. A 6dB SPL change is quite noticeable
and finally, a 10dB SPL change is perceived as
“twice as loud.”
The choice of flat or shaped response microphones again
depends on the sound source, the sound system and
the environment. Flat response microphones are usually
desirable to reproduce instruments such as acoustic
guitars or pianos, especially with high quality sound
systems. They are also common in stereo miking and
distant pickup applications where the microphone is
more than a few feet from the sound source: the absence
of response peaks minimizes feedback and contributes
to a more natural sound. On the other hand, shaped
response microphones are preferred for closeup vocal
use and for certain instruments such as drums and
guitar amplifiers which may benefit from response
enhancements for presence or punch. They are also
useful for reducing pickup of unwanted sound and noise
outside the frequency range of an instrument.
Directionality - A microphone’s sensitivity to sound relative
to the direction or angle from which the sound arrives.
There are a number of different directional patterns found
in microphone design. These are typically plotted in a polar
pattern to graphically display the directionality of the
microphone. The polar pattern shows the variation in
sensitivity 360 degrees around the microphone, assuming
that the microphone is in the center and that 0 degrees
represents the front of the microphone.
The three basic directional types of microphones are
omnidirectional, unidirectional, and bidirectional.
The omnidirectional microphone has equal output or
sensitivity at all angles. Its coverage angle is a full 360
degrees. An omnidirectional microphone will pick up
the maximum amount of ambient sound. In live sound
situations an omni should be placed very close to the
sound source to pick up a useable balance between direct
sound and ambient sound. In addition, an omni cannot be
aimed away from undesired sources such as PA speakers
which may cause feedback.
The unidirectional microphone is most sensitive to sound
arriving from one particular direction and is less sensitive
at other directions. The most common type is a cardioid
(heart-shaped) response. This has the most sensitivity at
0 degrees (on-axis) and is least sensitive at 180 degrees
(off-axis). The effective coverage or pickup angle of a
cardioid is about 130 degrees, that is up to about 65
degrees off axis at the front of the microphone. In addition,
the cardioid mic picks up only about one-third as much
ambient sound as an omni. Unidirectional microphones
isolate the desired on-axis sound from both unwanted
off-axis sound and from ambient noise.
Microphone Techniques
For example, the use of a cardioid microphone for a guitar
amplifier which is near the drum set is one way to reduce
bleed-through of drums into the reinforced guitar sound.
The bidirectional microphone has maximum sensitivity at
both 0 degrees (front) and at 180 degrees (back). It has the
least amount of output at 90 degree angles (sides). The
coverage or pickup angle is only about 90 degrees at both
the front and the rear. It has the same amount of ambient
pickup as the cardioid. This mic could be used for picking
up two opposing sound sources, such as a vocal duet.
Though rarely found in sound reinforcement they are used
in certain stereo techniques, such as M-S (mid-side).
Unidirectional microphones have several variations on the
cardioid pattern. Two of these are the supercardioid and
Both patterns offer narrower front pickup angles than the
cardioid (115 degrees for the supercardioid and 105
degrees for the hypercardioid) and also greater rejection
of ambient sound. While the cardioid is least sensitive at
the rear (180 degrees off-axis) the least sensitive direction
is at 126 degrees off-axis for the supercardioid and 110
degrees for the hypercardioid. When placed properly they
can provide more focused pickup and less ambient noise
than the cardioid pattern, but they have some pickup
directly at the rear, called a rear lobe. The rejection at the
rear is -12 dB for the supercardioid and only -6 dB for
the hypercardioid. A good cardioid type has at least
15-20 dB of rear rejection.
Microphone Polar Patterns Compared
Microphone Techniques
Using Directional Patterns to
Reject Unwanted Sources
In sound reinforcement, microphones must often
be located in positions where they may pick up
unintended instrument or other sounds. Some
examples are: individual drum mics picking up
adjacent drums, vocal mics picking up overall
stage noise, and vocal mics picking up monitor
speakers. In each case there is a desired sound
source and one or more undesired sound sources.
Choosing the appropriate directional pattern can
help to maximize the desired sound and minimize
the undesired sound.
Although the direction for maximum pickup is
usually obvious (on-axis) the direction for least
pickup varies with microphone type. In particular,
the cardioid is least sensitive at the rear (180 degrees off-axis) while the supercardioid and hypercardioid types actually have some rear pickup.
They are least sensitive at 125 degrees off-axis and
110 degrees off axis respectively.
For example, when using floor monitors with vocal
mics, the monitor should be aimed directly at the
rear axis of a cardioid microphone for maximum
gain-before-feedback. When using a supercardioid,
however, the monitor should be positioned
somewhat off to the side (55 degrees off the rear
axis) for best results. Likewise, when using
supercardioid or hypercardioid types on drum kits
be aware of the rear pickup of these mics and
angle them accordingly to avoid pickup of other
drums or cymbals.
Other directional related microphone characteristics:
Ambient sound rejection - Since unidirectional
microphones are less sensitive to off-axis sound than
omnidirectional types they pick up less overall ambient or
stage sound. Unidirectional mics should be used to control
ambient noise pickup to get a cleaner mix.
Distance factor - Because directional microphones pick
up less ambient sound than omnidirectional types they
may be used at somewhat greater distances from a sound
source and still achieve the same balance between the
direct sound and background or ambient sound. An omni
should be placed closer to the sound source than a
uni—about half the distance—to pick up the same
balance between direct sound and ambient sound.
Off-axis coloration - Change in a microphone’s frequency
response that usually gets progressively more noticeable
as the arrival angle of sound increases. High frequencies
tend to be lost first, often resulting in “muddy” off-axis
Proximity effect - With unidirectional microphones, bass
response increases as the mic is moved closer (within 2
feet) to the sound source. With close-up unidirectional
microphones (less than 1 foot), be aware of proximity effect
and roll off the bass until you obtain a more natural sound.
You can (1) roll off low frequencies on the mixer, or (2) use
a microphone designed to minimize proximity effect, or (3)
use a microphone with a bass rolloff switch, or (4) use
an omnidirectional microphone (which does not exhibit
proximity effect).
Proximity effect graph
Monitor speaker placement for
maximum rejection:
cardioid and supercardioid
Microphone Techniques
Unidirectional microphones can not only help to isolate one
voice or instrument from other singers or instruments, but
can also minimize feedback, allowing higher gain. For
these reasons, unidirectional microphones are preferred
over omnidirectional microphones in almost all sound reinforcement applications.
The electrical output of a microphone is usually specified
by level, impedance and wiring configuration. Output level
or sensitivity is the level of the electrical signal from the
microphone for a given input sound level. In general,
condenser microphones have higher sensitivity than
dynamic types. For weak or distant sounds a high sensitivity
microphone is desirable while loud or close-up sounds can
be picked up well by lower-sensitivity models.
The output impedance of a microphone is roughly equal to
the electrical resistance of its output: 150-600 ohms for
low impedance (low-Z) and 10,000 ohms or more for high
impedance.(high-Z). The practical concern is that low
impedance microphones can be used with cable lengths
of 1000 feet or more with no loss of quality while high
impedance types exhibit noticeable high frequency loss
with cable lengths greater than about 20 feet.
Finally, the wiring configuration of a microphone may be
balanced or unbalanced. A balanced output carries the
signal on two conductors (plus shield). The signals on each
conductor are the same level but opposite polarity (one
signal is positive when the other is negative). A balanced
microphone input amplifies only the difference between
the two signals and rejects any part of the signal which is
the same in each conductor. Any electrical noise or hum
picked up by a balanced (two-conductor) cable tends to be
identical in the two conductors and is therefore rejected by
the balanced input while the equal but opposite polarity
original signals are amplified. On the other hand, an
unbalanced microphone output carries its signal on a
single conductor (plus shield) and an unbalanced
microphone input amplifies any signal on that conductor.
Such a combination will be unable to reject any electrical
noise which has been picked up by the cable. Balanced,
low-impedance microphones are therefore recommended
for nearly all sound reinforcement applications.
The physical design of a microphone is its mechanical
and operational design. Types used in sound
reinforcement include: handheld, headworn, lavaliere,
overhead, stand-mounted, instrument-mounted and
surface-mounted designs. Most of these are available in
a choice of operating principle, frequency response,
directional pattern and electrical output. Often the
physical design is the first choice made for an application.
Understanding and choosing the other characteristics
can assist in producing the maximum quality microphone
signal and delivering it to the sound system with the
highest fidelity.
Musical Instrument Characteristics
Some background information on characteristics of musical
instruments may be helpful. Instruments and other sound
sources are characterized by their frequency output, by
their directional output and by their dynamic range.
Frequency output - the span of fundamental and
harmonic frequencies produced by an instrument, and the
balance or relative level of those frequencies.
Musical instruments have overall frequency ranges as
found in the chart below. The dark section of each line
indicates the range of fundamental frequencies and the
shaded section represents the range of the highest
harmonics or overtones of the instrument. The
fundamental frequency establishes the basic pitch of a
note played by an instrument while the harmonics
produce the timbre or characteristic tone.
Microphone Techniques
A microphone which responds evenly to the full range
of an instrument will reproduce the most natural sound
from an instrument. A microphone which responds
unevenly or to less than the full range will alter the
sound of the instrument, though this effect may be
desirable in some cases.
Directional output - the three-dimensional pattern of sound
waves radiated by an instrument.
Instrument frequency ranges
It is this timbre that distinguishes the sound of one
instrument from another. In this manner, we can tell
whether a piano or a trumpet just played that C note.
The following graphs show the levels of the fundamental
and harmonics associated with a trumpet and an oboe
each playing the same note.
A musical instrument radiates a different tone quality
(timbre) in every direction, and each part of the instrument
produces a different timbre. Most musical instruments are
designed to sound best at a distance, typically two or more
feet away. At this distance, the sounds of the various parts
of the instrument combine into a pleasing composite.
In addition, many instruments produce this balanced
sound only in a particular direction. A microphone placed
at such distance and direction tends to pick up a natural
or well-balanced tone quality.
On the other hand, a microphone placed close to the
instrument tends to emphasize the part of the instrument
that the microphone is near. The resulting sound may not
be representative of the instrument as a whole. Thus, the
reinforced tonal balance of an instrument is strongly
affected by the microphone position relative to the
trumpet in Bb
3000 4000 5000
Instrument spectra comparison
The number of harmonics along with the relative level of
the harmonics is noticeably different between these two
instruments and provides each instrument with its own
unique sound.
Unfortunately, it is difficult, if not impossible, to place a
microphone at the “natural sounding” distance from an
instrument in a sound reinforcement situation without
picking up other (undesired) sounds and/or acoustic
feedback. Close microphone placement is usually the
only practical way to achieve sufficient isolation and
gain-before-feedback. But since the sound picked up
close to a source can vary significantly with small
changes in microphone position, it is very useful to
experiment with microphone location and orientation.
In some cases more than one microphone may be
required to get a good sound from a large instrument
such as a piano.
Microphone Techniques
Instrument Loudspeakers
Another instrument with a wide range of
characteristics is the loudspeaker. Anytime you
are placing microphones to pick up the sound of a
guitar or bass cabinet you are confronted with the
acoustic nature of loudspeakers. Each individual
loudspeaker type is directional and displays
different frequency characteristics at different
angles and distances. The sound from a loudspeaker tends to be almost omnidirectional at low
frequencies but becomes very directional at high
frequencies. Thus, the sound on-axis at the center
of a speaker usually has the most “bite” or
high-end, while the sound produced off-axis or at
the edge of the speaker is more “mellow” or bassy.
A cabinet with multiple loudspeakers has an even
more complex output, especially if it has different
speakers for bass and treble. As with most acoustic
instruments the desired sound only develops at
some distance from the speaker.
Sound reinforcement situations typically require a
close-mic approach. A unidirectional dynamic
microphone is a good first choice here: it can handle
the high level and provide good sound and isolation.
Keep in mind the proximity effect when using a uni
close to the speaker: some bass boost will be likely.
If the cabinet has only one speaker a single
microphone should pick up a suitable sound with a
little experimentation. If the cabinet has multiple
speakers of the same type it is typically easiest to
place the microphone to pick up just one speaker.
Placing the microphone between speakers can
result in strong phase effects though this may be
desirable to achieve a particular tone. However, if the
cabinet is stereo or has separate bass and treble
speakers multiple microphones may be required.
Placement of loudspeaker cabinets can also have a
significant effect on their sound. Putting cabinets
on carpets can reduce brightness, while raising
them off the floor can reduce low end. Open-back
cabinets can be miked from behind as well as from
the front. The distance from the cabinet to walls or
other objects can also vary the sound. Again,
experiment with the microphone(s) and placement
until you have the sound that you like!
Dynamic range - the range of volume of an instrument
from its softest to its loudest level.
The dynamic range of an instrument determines the
specifications for sensitivity and maximum input capability
of the intended microphone. Loud instruments such as
drums, brass and amplified guitars are handled well by
dynamic microphones which can withstand high sound
levels and have moderate sensitivity. Softer instruments
such as flutes and harpsichords can benefit from the
higher sensitivity of condensers. Of course, the farther the
microphone is placed from the instrument the lower the
level of sound reaching the microphone.
In the context of a live performance, the relative dynamic
range of each instrument determines how much sound
reinforcement may be required. If all of the instruments
are fairly loud, and the venue is of moderate size with good
acoustics, no reinforcement may be necessary. On the
other hand, if the performance is in a very large hall or
outdoors, even amplified instruments may need to be
further reinforced. Finally, if there is a substantial
difference in dynamic range among the instruments, such
as an acoustic guitar in a loud rock band, the microphone
techniques (and the sound system) must accommodate
those differences. Often, the maximum volume of the
overall sound system is limited by the maximum gain-before-feedback of the softest instrument.
An understanding
of the frequency
output, directional
output, and
dynamic range
of musical
instruments can
help significantly
in choosing suitable
microphones, placing
them for best pickup
of the desired sound
and minimizing
feedback or other
undesired sounds.
Intensity Level in Decibels
(at distance of 10 feet)
Microphone Techniques
Acoustic Characteristics
Approximate wavelengths of common frequencies:
100 Hz: about 10 feet
1000 Hz: about 1 foot
10,000 Hz: about 1 inch
Sound Waves
Sound moves through the air like waves in water. Sound
waves consist of pressure variations traveling through
the air. When the sound wave travels, it compresses
air molecules together at one point. This is called the
high pressure zone or positive component(+). After the
compression, an expansion of molecules occurs. This is the
low pressure zone or negative component(-). This process
continues along the path of the sound wave until its energy
becomes too weak to hear. The sound wave of a pure tone
traveling through air would appear as a smooth, regular
variation of pressure that could be drawn as a sine wave.
Frequency, wavelength and the speed of sound
The frequency
of a sound
wave indicates
the rate of
or cycles.
One cycle is
Schematic of sound wave
a change from
high pressure to low pressure and back to high pressure. The
number of cycles per second is called Hertz, abbreviated
“Hz.” So, a 1,000 Hz tone has 1,000 cycles per second.
The wavelength of a sound is the physical distance from
the start of one cycle to the start of the next cycle. Wavelength is related to frequency by the speed of sound. The
speed of sound in air is about 1130 feet per second or 344
meters/second. The speed of sound is constant no matter
what the frequency. The wavelength of a sound wave of
any frequency can be determined by these relationships:
The Wave Equation: c = f • l
speed of sound = frequency • wavelength
wavelength =
Ambient sounds
speed of sound
The fluctuation of air pressure created by sound is a change
above and below normal atmospheric pressure. This is what
the human ear responds to. The varying amount of pressure
of the air molecules compressing and expanding is related
to the apparent loudness at thehuman ear. The greater the
pressure change, the louder the sound. Under ideal
conditions the human ear can sense a pressure change as
small as 0.0002 microbars (1 microbar = 1/1,000,000
atmospheric pressure). The threshold of pain is about 200
microbars, one million times greater! Obviously the human
ear responds to a wide range of amplitude of sound. This
amplitude range is more commonly measured in decibels
Sound Pressure Level (dB SPL), relative to 0.0002
microbars (0 dB SPL). 0 dB SPL is the threshold of hearing
Lp and 120 dB SPL is the threshold of pain. 1dB is about the
smallest change in SPL that can be heard. A 3dB change is
generally noticeable while a 6dB change is very noticeable.
A 10dB SPL increase is perceived to be twice as loud!
for a 500Hz sound wave:
1,130 feet per second
wavelength =
wavelength = 2.26 feet
Sound Propagation
There are four basic ways in which sound can be altered
by its environment as it travels or propagates: reflection,
absorption, diffraction and refraction.
Microphone Techniques
1. Reflection - A sound wave can be reflected by a
surface or other object if the object is physically as large or
larger than the wavelength of the sound. Because low
frequency sounds have long wavelengths they can only be
reflected by large objects. Higher frequencies can be
reflected by smaller objects and surfaces as well as large.
The reflected sound will have a different frequency
characteristic than the direct sound if all frequencies are
not reflected equally.
Reflection is also the source of echo, reverb, and standing
Echo occurs when a reflected sound is delayed long
enough (by a distant reflective surface) to be heard by the
listener as a distinct repetition of the direct sound.
Reverberation consists of many reflections of a sound,
maintaining the sound in a reflective space for a time even
after the direct sound has stopped.
Standing waves in a room occur for certain frequencies
related to the distance between parallel walls. The original
sound and the reflected sound will begin to reinforce each
other when the distance between two opposite walls is
equal to a multiple of half the wavelength of the sound.
This happens primarily at low frequencies due to their
longer wavelengths and relatively high energy.
2. Absorption - Some materials absorb sound rather than
reflect it. Again, the efficiency of absorption is dependent
on the wavelength. Thin absorbers like carpet and acoustic
ceiling tiles can affect high frequencies only, while thick
absorbers such as drapes, padded furniture and specially
designed bass traps are required to attenuate low frequencies.
Reverberation in a room can be controlled by adding
absorption: the more absorption the less reverberation.
Clothed humans absorb mid and high frequencies well, so
the presence or absence of an audience has a significant
effect on the sound in an otherwise reverberant venue.
3. Diffraction - A sound wave will typically bend around
obstacles in its path which are smaller than its wavelength.
Because a low frequency sound wave is much longer than
a high frequency wave, low frequencies will bend around
objects that high frequencies cannot. The effect is that high
frequencies tend to have a higher directivity and are more
easily blocked while low frequencies are essentially
omnidirectional. In sound reinforcement, it is difficult to
get good directional control at low frequencies for both
microphones and loudspeakers.
4. Refraction - The bending of a sound wave as it passes
through some change in the density of the environment.
This effect is primarily noticeable outdoors at large
distances from loudspeakers due to atmospheric effects
such as wind or temperature gradients. The sound will
appear to bend in a certain direction due to these effects.
Direct vs. Ambient Sound
A very important property of direct sound is that it
becomes weaker as it travels away from the sound
source. The amount of change is controlled by the
inverse-square law which states that the level change
is inversely proportional to the square of the distance
change. When the distance from a sound source
doubles, the sound level decreases by 6dB. This is a
noticeable decrease. For example, if the sound from a
guitar amplifier is 100 dB SPL at 1 ft. from the cabinet
it will be 94 dB at 2 ft., 88 dB at 4 ft., 82 dB at 8 ft., etc.
Conversely, when the distance is cut in half the sound
level increases by 6dB: It will be 106 dB at 6 inches
and 112 dB at 3 inches!
On the other hand, the ambient sound in a room is at
nearly the same level throughout the room. This is
because the ambient sound has been reflected many
times within the room until it is essentially nondirectional. Reverberation is an example of nondirectional sound.
For this reason the ambient sound of the room will
become increasingly apparent as a microphone is
placed further away from the direct sound source.
In every room, there is a distance (measured from the
sound source) where the direct sound and the reflected
(or reverberant) sound become equal in intensity.
In acoustics, this is known as the Critical Distance.
If a microphone is placed at the Critical Distance or
farther, the sound quality picked up may be very poor.
This sound is often described as “echoey”, reverberant,
or “bottom of the barrel”. The reflected sound overlaps
and blurs the direct sound.
Critical distance may be estimated by listening to a
sound source at a very short distance, then moving
away until the sound level no longer decreases but
seems to be constant. That distance is critical distance.
Microphone Techniques
A unidirectional microphone should be positioned no farther
than 50% of the Critical Distance, e.g. if the Critical Distance
is 10 feet, a unidirectional mic may be placed up to 5 feet
from the sound source. Highly reverberant rooms may
require very close microphone placement. The amount of
direct sound relative to ambient sound is controlled primarily
by the distance of the microphone to the sound source and
to a lesser degree by the directional pattern of the mic.
”1800 out
of phase”
+ =
The phase of a single
frequency sound wave is
always described relative
to the starting point of the
wave or 0 degrees. The
pressure change is also
zero at this point. The
1800 2700
peak of the high pressure
zone is at 90 degrees, the
Sound pressure wave
pressure change falls to
zero again at 180 degrees, the peak of the low pressure
zone is at 270 degrees, and the pressure change rises to
zero at 360 degrees for the start of the next cycle.
+ =
Phase relationships and interference effects
one cycle or one period
“phase shifts”
+ =
Phase relationships
Two identical sound waves starting at the same point in time
are called “in-phase” and will sum together creating a single
wave with double the amplitude but otherwise identical to
the original waves. Two identical sound waves with one
wave’s starting point occurring at the 180 degree point of
the other wave are said to be “out of phase” and the two
waves will cancel each other completely. When two sound
waves of the same single frequency but different starting
points are combined the resulting wave is said to have
“phase shift” or an apparent starting point somewhere
between the original starting points. This new wave will have
the same frequency as the original waves but will have increased or decreased amplitude depending on the degree
of phase difference. Phase shift, in this case, indicates that
the 0 degree points of two identical waves are not the same.
The first case is the basis for the increased sensitivity
of boundary or surface-mount microphones. When a
microphone element is placed very close to an acoustically
reflective surface both the incident and reflected sound
waves are in phase at the microphone. This results in a
6dB increase (doubling) in sensitivity, compared to the
same microphone in free space. This occurs for reflected
frequencies whose wavelength is greater than the distance
from the microphone to the surface: if the distance is less
than one-quarter inch this will be the case for frequencies
up to at least 18 kHz. However, this 6dB increase will not
occur for frequencies that are not reflected, that is,
frequencies that are either absorbed by the surface or that
diffract around the surface. High frequencies may be
absorbed by surface materials such as carpeting or other
acoustic treatments. Low frequencies will diffract around
the surface if their wavelength is much greater than the
dimensions of the surface: the boundary must be at least
5 ft. square to reflect frequencies down to 100 Hz.
Most soundwaves are not a single frequency but are
made up of many frequencies. When identical multiplefrequency soundwaves combine there are three
possibilities for the resulting wave: a doubling of
amplitude at all frequencies if the waves are in phase, a
complete cancellation at all frequencies if the waves are
180 degrees out of phase, or partial cancellation and
partial reinforcement at various frequencies if the waves
have intermediate phase relationship. The results may be
heard as interference effects.
The second case occurs when two closely spaced microphones are wired out of phase, that is, with reverse polarity.
This usually only happens by accident, due to miswired
microphones or cables but the effect is also used as the
basis for certain noise-canceling microphones. In this
technique, two identical microphones are placed very close
to each other (sometimes within the same housing) and
wired with opposite polarity. Sound waves from distant
sources which arrive equally at the two microphones
are effectively canceled when the outputs are mixed.
Microphone Techniques
Polarity reversal
Multi-mic comb filtering
However, sound from a source which is much closer to
one element than to other will be heard. Such close-talk
microphones, which must literally have the lips of the talker
touching the grille, are used in high-noise environments
such as aircraft and industrial paging but rarely with
musical instruments due to their limited frequency response.
than one speaker or multiple loudspeaker cabinets for a
single instrument would be examples. The delayed sound
travels a longer distance (longer time) to the mic and thus
has a phase difference relative to the direct sound. When
these sounds combine (acoustically) at the microphone,
comb filtering results. This time the effect of the comb
filtering depends on the distance between the microphone
and the source of the reflection or the distance between
the multiple sources.
It is the last case which is most likely in musical sound reinforcement, and the audible result is a degraded frequency
response called “comb filtering.” The pattern of peaks and
dips resembles the teeth of a comb and the depth and
location of these notches depend on the degree of phase shift.
With microphones this effect can occur in two ways. The
first is when two (or more) mics pick up the same sound
source at different distances. Because it takes longer for the
sound to arrive at the more distant microphone there is
effectively a phase difference between the signals from the
mics when they are combined (electrically) in the mixer. The
resulting comb filtering depends on the sound arrival time
difference between the microphones: a large time difference
(long distance) causes comb filtering to begin at low
frequencies, while a small time difference (short distance)
moves the comb filtering to higher frequencies.
The second way for this effect to occur is when a single
microphone picks up a direct sound and also a delayed
version of the same sound. The delay may be due to an
acoustic reflection of the original sound or to multiple
sources of the original sound. A guitar cabinet with more
Reflection comb filtering
Microphone Techniques
The 3-to-1 Rule
Microphone Phase Effects
When it is necessary to use multiple microphones or to
use microphones near reflective surfaces the resulting
interference effects may be minimized by using the 3-to-1
rule. For multiple microphones the rule states that the
distance between microphones should be at least three
times the distance from each microphone to its intended
sound source. The sound picked up by the more distant
microphone is then at least 12dB less than the sound
picked up by the closer one. This insures that the audible
effects of comb filtering are reduced by at least that much.
For reflective surfaces, the microphone should be at least
11/2 times as far from that surface as it is from its intended
sound source. Again, this insures minimum audibility of
interference effects.
One effect often heard in sound reinforcement occurs
when two microphones are placed in close proximity
to the same sound source, such as a drum kit or
instrument amplifier. Many times this is due to the
phase relationship of the sounds arriving at the
microphones. If two microphones are picking up the
same sound source from different locations, some
phase cancellation or summing may be occurring.
Phase cancellation happens when two microphones
are receiving the same soundwave but with opposite
pressure zones (that is,180 degrees out of phase).
This is usually not desired. A mic with a different
polar pattern may reduce the pickup of unwanted
sound and reduce the effect or physical isolation can
be used. With a drum kit, physical isolation of the
individual drums is not possible. In this situation the
choice of microphones may be more dependent on
the off-axis rejection characteristic of the mic.
3-to-1 rule
Strictly speaking, the 3-to-1 rule is based on the behavior
of omnidirectional microphones. It can be relaxed slightly
if unidirectional microphones are used and they are aimed
appropriately, but should still be regarded as a basic rule
of thumb for worst case situations.
Another possibility is phase reversal. If there is
cancellation occurring, a 180 degree phase flip will
create phase summing of the same frequencies.
A common approach to the snare drum is to place
one mic on the top head and one on the bottom head.
Because the mics are picking up relatively similar
sound sources at different points in the sound wave,
you may experience some phase cancellations.
Inverting the phase of one mic will sum any frequencies
being canceled. This may sometimes achieve a
“fatter“ snare drum sound. This effect will change
dependent on mic locations. The phase inversion can
be done with an in-line phase reverse adapter or by a
phase invert switch found on many mixers inputs.
Potential Acoustic Gain vs. Needed Acoustic Gain
The basic purpose of a sound reinforcement system is to
deliver sufficient sound level to the audience so that they
can hear and enjoy the performance throughout the
listening area. As mentioned earlier, the amount of
reinforcement needed depends on the loudness of the
instruments or performers themselves and the size and
acoustic nature of the venue. This Needed Acoustic Gain
(NAG) is the amplification factor necessary so that the
furthest listeners can hear as if they were close enough to
hear the performers directly.
Microphone Techniques
To calculate NAG: NAG = 20 x log (Df/Dn)
The simplified PAG equation is:
Where: Df = distance from sound source
to furthest listener
PAG = 20 (log D1 - log D2 + log D0 - log Ds)
-10 log NOM -6
Where: PAG = Potential Acoustic Gain (in dB)
Dn = distance from sound source
to nearest listener
Ds = distance from sound source to microphone
log = logarithm to base 10
D0 = distance from sound source to listener
Note: the sound source may be a musical instrument,
a vocalist or perhaps a loudspeaker.
The equation for NAG is based on the inverse-square
law, which says that the sound level decreases by 6dB
each time the distance to the source doubles. For
example, the sound level (without a sound system) at
the first row of the audience (10 feet from the stage)
might be a comfortable 85dB. At the last row of the
audience (80 feet from the stage) the level will be 18dB
less or 67dB. In this case the sound system needs to
provide 18dB of gain so that the last row can hear at the
same level as the first row. The limitation in real-world
sound systems is not how loud the system can get with
a recorded sound source but rather how loud it can get
with a microphone as its input. The maximum loudness
is ultimately limited by acoustic feedback.
The amount of gain-before-feedback that a sound
reinforcement system can provide may be estimated
mathematically. This Potential Acoustic Gain involves
the distances between sound system components, the
number of open mics, and other variables. The system
will be sufficient if the calculated Potential Acoustic Gain
(PAG) is equal to or greater than the Needed Acoustic Gain
(NAG). Below is an illustration showing the key distances.
D1 = distance from microphone to loudspeaker
D2 = distance from loudspeaker to listener
NOM = the number of open microphones
-6 = a 6 dB feedback stability margin
log = logarithm to base 10
In order to make PAG as large as possible, that is, to
provide the maximum gain-before-feedback, the following
rules should be observed:
1) Place the microphone as close to
the sound source as practical.
2) Keep the microphone as far away
from the loudspeaker as practical.
3) Place the loudspeaker as close to
the audience as practical.
4) Keep the number of microphones
to a minimum.
In particular, the logarithmic relationship means that to
make a 6dB change in the value of PAG the corresponding
distance must be doubled or halved. For example, if a
microphone is 1 ft. from an instrument, moving it to 2 ft.
away will decrease the gain-before-feedback by 6dB while
moving it to 4 ft. away will decrease it by 12dB. On the
other hand, moving it to 6 in. away increases gain-beforefeedback by 6dB while moving it to only 3 in. away will
increase it by 12dB. This is why the single most significant
factor in maximizing gain-before-feedback is to place the
microphone as close as practical to the sound source.
Microphone Techniques
The NOM term in the PAG equation reflects the fact that
gain-before-feedback decreases by 3dB every time
the number of open (active) microphones doubles. For
example, if a system has a PAG of 20dB with a single
microphone, adding a second microphone will decrease
PAG to 17dB and adding a third and fourth mic will
decrease PAG to 14dB. This is why the number of
microphones should be kept to a minimum and why
unused microphones should be turned off or attenuated.
Essentially, the gain-before-feedback of a sound system
can be evaluated strictly on the relative location of sources,
microphones, loudspeakers, and audience, as well as the
number of microphones, but without regard to the actual
type of component. Though quite simple, the results are
very useful as a best case estimate.
Understanding principles of basic acoustics can help
to create an awareness of potential influences on
reinforced sound and to provide some insight into
controlling them. When effects of this sort are
encountered and are undesirable, it may be possible
to adjust the sound source, use a microphone with a
different directional characteristic, reposition the
microphone or use fewer microphones, or possibly use
acoustic treatment to improve the situation. Keep in
mind that in most cases, acoustic problems can best be
solved acoustically, not strictly by electronic devices.
General Rules
Microphone technique is largely a matter of personal
taste—whatever method sounds right for the particular
instrument, musician, and song is right. There is no one
ideal microphone to use on any particular instrument.
There is also no one ideal way to place a microphone.
Choose and place the microphone to get the sound you
want. We recommend experimenting with a variety
of microphones and positions until you create your
desired sound. However, the desired sound can often
be achieved more quickly and consistently by
understanding basic microphone characteristics,
sound-radiation properties of musical instruments, and
acoustic fundamentals as presented above.
Here are some suggestions to follow when miking musical
instruments for sound reinforcement.
• Try to get the sound source (instrument, voice, or amplifier)
to sound good acoustically (“live”) before miking it.
• Use a microphone with a frequency response that is
limited to the frequency range of the instrument, if
possible, or filter out frequencies below the lowest
fundamental frequency of the instrument.
• To determine a good starting microphone position, try
closing one ear with your finger. Listen to the sound
source with the other ear and move around until you find
a spot that sounds good. Put the microphone there.
However, this may not be practical (or healthy) for
extremely close placement near loud sources.
• The closer a microphone is to a sound source, the louder
the sound source is compared to reverberation and
ambient noise. Also, the Potential Acoustic Gain is
increased—that is, the system can produce more level
before feedback occurs. Each time the distance
between the microphone and sound source is halved,
the sound pressure level at the microphone (and hence
the system) will increase by 6 dB. (Inverse Square Law)
• Place the microphone only as close as necessary.
Too close a placement can color the sound source’s tone
quality (timbre), by picking up only one part of the instrument. Be aware of Proximity Effect with unidirectional
microphones and use bass rolloff if necessary.
• Use as few microphones as are necessary to get a good
sound. To do that, you can often pick up two or more
sound sources with one microphone. Remember: every
time the number of microphones doubles, the Potential
Acoustic Gain of the sound system decreases by 3 dB.
This means that the volume level of the system must be
turned down for every extra mic added in order to
prevent feedback. In addition, the amount of noise
picked up increases as does the likelihood of interference
effects such as comb-filtering.
Microphone Techniques
• When multiple microphones are used, the distance
between microphones should be at least three times the
distance from each microphone to its intended sound
source. This will help eliminate phase cancellation. For
example, if two microphones are each placed one foot
from their sound sources, the distance between the
microphones should be at least three feet. (3 to 1 Rule)
• To reduce feedback and pickup of unwanted sounds:
• To reduce “pop” (explosive breath sounds occurring
with the letters “p,” “b,” and “t”):
1) mic either closer or farther than 3 inches
from the mouth (because the
3-inch distance is worst)
2) place the microphone out of the path
of pop travel (to the side, above, or
below the mouth)
1) place microphone as close as practical
to desired sound source
3) use an omnidirectional microphone
2) place microphone as far as practical
from unwanted sound sources such
as loudspeakers and other instruments
4) use a microphone with a pop filter.
This pop filter can be a ball-type grille
or an external foam windscreen
3) aim unidirectional microphone toward
desired sound source (on-axis)
• If the sound from your loudspeakers is distorted the
microphone signal may be overloading your mixer’s
input. To correct this situation, use an in-line attenuator
(such as the Shure A15AS), or use the input attenuator on
your mixer to reduce the signal level from the microphone.
4) aim unidirectional microphone away from
undesired sound source (180 degrees
off-axis for cardioid, 126 degrees off-axis
for supercardioid)
5) use minimum number of microphones
• To reduce handling noise and stand thumps:
1) use an accessory shock mount
(such as the Shure A55M)
Seasoned sound engineers have developed favorite microphone techniques through years of experience. If you lack
this experience, the suggestions listed on the following
pages should help you find a good starting point. These
suggestions are not the only possibilities; other microphones and positions may work as well or better for your intended application. Remember—Experiment and Listen!
2) use an omnidirectional microphone
3) use a unidirectional microphone with a
specially designed internal shock mount
Microphone Techniques
Microphone Placement
Tonal Balance
Bassy, robust
(unless an omni
is used)
Minimizes feedback and leakage.
Roll off bass if desired for more natural sound.
Bassy, robust
(unless an omni
is used)
Minimizes feedback and leakage.
Allows engineer control of voice balances.
Roll off bass if necessary for more natural sound
when using cardioids.
1 to 3 feet above and 2 to 4 feet in
front of the first row of the choir,
aimed toward the middle row(s) of
the choir, approximately 1 microphone
per 15-20 people
Full range,
good blend,
Use flat-response unidirectional microphones,
Use minimum number of microphones needed
to avoid overlapping pickup areas.
Miniature microphone clipped
outside of sound hole
Good isolation. Allows freedom of movement.
Miniature microphone clipped inside
sound hole
Bassy, less
string noise
Reduces feedback.
8 inches from sound hole
Good starting placement when leakage or
feedback 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 rolloff needed for
a natural sound.
4 to 8 inches from bridge
Woody, warm,
mellow. Midbasy,
lacks detail
Reduces pick and string noise.
6 inches above the side, over the bridge,
and even with the front soundboard
slightly bright
Less pickup of ambience and leakage than
3 feet from sound hole.
miniature microphone clipped
outside of sound hole
Good isolation. Allows freedom of movement.
miniature microphone clipped
inside sound hole
Bassy, less
string noise
Reduces feedback.
Lead vocal:
Handheld or on stand, microphone
windscreen touching lips or just a few
inches away
Backup vocals:
One microphone per singer
Handheld near chin or stand-mounted
Touching lips or a few inches away
Choral groups:
Acoustic guitar:
Microphone Techniques
Microphone Placement
Tonal Balance
3 inches from center of head
Bassy, thumpy
Rejects feedback and leakage.
Roll off bass for natural sound.
3 inches from edge of head
Rejects feedback and leakage.
Miniature microphone clipped to
tailpiece aiming at bridge
Rejects feedback and leakage.
Allows freedom of movement.
A few inches from side
Well-balanced sound.
Miniature lavalier microphone mounted
on strings between bridge and tailpiece
Full, bright
Use string mount.
Listen for vibrations,
adjust mount position.
Well-balanced sound, but little isolation.
Violin (fiddle):
1 foot from bridge
General string instruments (mandolin, dobro and dulcimer):
Miniature microphone attached to
strings between bridge and tailpiece
Minimizes feedback and leakage.
Allows freedom of movement.
Acoustic bass (upright bass, string bass, bass violin):
6 inches to 1 foot out front,
just above bridge
Natural sound.
A few inches from f-hole
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.
Miniature lavalier microphone mounted
on strings between bridge and tailpiece
Full, bright
Use string mount.
Listen for vibrations,
adjust mount position.
Aiming toward player at part of
soundboard, about 2 feet away
See “Stereo Microphone Techniques”
section for other possibilities.
Tape miniature microphone to
Minimizes feedback and leakage.
Microphone Techniques
Microphone Placement
Tonal Balance
12 inches above middle strings,
8 inches horizontally from hammers
with lid off or at full stick
Less pickup of ambience and leakage.
Move microphone(s) farther from hammers
to reduce attack and mechanical noises.
Good coincident-stereo placement.
See “Stereo Microphone Techniques” section.
8 inches above treble strings, as above
slightly bright
Place one microphone over bass strings and one
over treble strings for stereo. Phase cancellations
may occur if the recording is heard in mono.
Aiming into
sound holes
Thin, dull, hard,
Very good isolation. Sometimes sounds good for
rock music. Boost mid-bass and treble for more
natural sound.
6 inches over middle strings,
8 inches from hammers,
with lid on short stick
Muddy, boomy,
dull, lacks attack
Improves isolation. Bass rolloff and some treble
boost required for more natural sound.
Next to the underside of raised lid,
centered on lid
Bassy, full
Unobtrusive placement.
Underneath the piano, aiming up at the
Bassy, dull, full
Unobtrusive placement.
Surface-mount microphone mounted
on underside of lid over lower treble
strings, horizontally close to hammers
for brighter sound, further from
hammers for more mellow sound
Excellent isolation. Experiment with lid height
and microphone placement on piano lid for
desired sounds.
Two surface-mount microphones
positioned on the closed lid, under the
edge at its keyboard edge, approximately
2/3 of the distance from middle A to each
end of the keyboard
strong attack
Excellent isolation. Moving “low” mic away
from keyboard six inches provides truer
reproduction of the bass strings while reducing
damper noise. By splaying these two mics
outward slightly, the overlap in the middle
registers can be minimized.
Surface-mount microphone placed
vertically on the inside of the frame,
or rim, of the
piano, at or
near the
apex of the
curved wall
Full, natural
Excellent isolation. Minimizes hammer and
damper noise. Best if used in conjunction with
two surface-mount microphones mounted to
closed lid, as above.
Grand piano:
Microphone Techniques
Microphone Placement
Tonal Balance
Just over open top, above treble strings
Natural (but lacks
deep bass), picks
up hammer attack
Good placement when only one
microphone is used.
Just over open top, above bass strings
Slightly full or
tubby, picks up
hammer attack
Mike bass and treble strings for stereo.
Inside top near the bass and
treble stings
Natural, picks up
hammer attack
Minimizes feedback and leakage.
Use two microphones for stereo.
8 inches from bass side of soundboard
Full, slightly tubby,
no hammer attack
Use this placement with the
following placement for stereo.
8 inches from treble side of soundboard
Thin, constricted,
no hammer attack
Use this placement with the
preceding placement for stereo.
1 foot from center of soundboard on
hard floor or one-foot-square plate
on carpeted floor, aiming at piano.
Soundboard should face into room
Natural, good
Minimize pickup of floor vibrations by
mounting microphone in low-profile
shock-mounted microphone stand.
Aiming at hammers from front, several
inches away (remove front panel)
Bright, picks up
hammer attack
Mike bass and treble strings for stereo.
Upright piano:
Brass (trumpet, cornet, trombone, tuba):
The sound from these instruments is very directional. Placing the mic off axis with the bell of the instrument will
result in less pickup of high frequencies.
1 to 2 feet from bell. A couple of
instruments can play into one
On-axis to bell
sounds bright; to
one side sounds
natural or mellow
Close miking sounds “tight” and minimizes
feedback and leakage. More distant placement
gives fuller, more dramatic sound.
Miniature microphone mounted on bell
Maximum isolation.
Microphone Techniques
Microphone Placement
Tonal Balance
Watch out for extreme fluctuations on VU meter.
French horn:
Microphone aiming toward bell
With the saxophone, the sound is fairly well distributed between the finger holes and the bell. Miking close to the
finger holes will result in key noise. The soprano sax must be considered separately because its bell does not curve
upward. This means that, unlike all other saxophones, placing a microphone toward the middle of the instrument
will not pick-up the sound from the key holes and the bell simultaneously. The saxophone has sound characteristics
similar to the human voice. Thus, a shaped response microphone designed for voice works well.
A few inches from and aiming into bell
Minimizes feedback and leakage.
A few inches from sound holes
Warm, full
Picks up fingering noise.
A few inches
above bell
and aiming at
sound holes
Good recording technique.
on bell
Bright, punchy
Maximum isolation, up-front sound.
The sound energy from a flute is projected both by the embouchure and by the first open fingerhole.
For good pickup, place the mic as close as possible to the instrument. However, if the mic is too close to the mouth,
breath noise will be apparent. Use a windscreen on the mic to overcome this difficulty.
A few inches from area between
mouthpiece and first set of finger holes
Pop filter or windscreen may be required
on microphone.
A few inches behind player’s head,
aiming at finger holes
Reduces breath noise.
About 1 foot from sound holes
Provides well-balanced sound.
A few inches from bell
Minimizes feedback and leakage.
Woodwinds (Oboe, bassoon, etc):
Microphone Techniques
Microphone Placement
Tonal Balance
Full, bright
Minimizes feedback and leakage.
Microphone may be cupped in hands.
Minimizes feedback and leakage.
Allows freedom of movement.
Very close to instrument
Miniature microphone mounted internally
Electric guitar amplifier/speaker:
The electric guitar has sound characteristics similar to the human voice. Thus, a shaped response microphone
designed for voice works well.
4 inches from grille cloth at center of
speaker cone
Small microphone desk stand may be used if
loudspeaker is close to floor.
1 inch from
grille cloth at
center of
speaker cone
Minimizes feedback and leakage.
Off-center with respect to speaker cone
Dull or mellow
Microphone closer to edge of speaker cone results
in duller sound. Reduces amplifier hiss noise.
3 feet from center of speaker cone
Thin, reduced bass
Picks up more room ambience and leakage.
Miniature microphone draped over
amp in front of speaker
Easy setup, minimizes leakage.
Microphone placed behind open
back cabinet
Depends on
Can be combined with mic in front of cabinet,
but be careful of phase cancellation.
Depends on
Improve clarity by cutting frequencies around
250 Hz and boosting around 1,500 Hz.
Bass guitar amplifier/speaker:
Mike speaker as described in
Electric Guitar Amplifier section
Electric keyboard amplifier/speakers:
Mike speaker as described in
Electric Guitar Amplifier section
Depends on
brand of piano
Roll off bass for clarity, roll off highs to reduce hiss.
Microphone Techniques
Microphone Placement
Tonal Balance
Aim one microphone into top
louvers 3 inches to 1 foot away
lacks deep bass
Good one-mike pickup.
Mike top louvers and bottom bass
speaker 3 inches to 1 foot away
Excellent overall sound.
Mike top louvers with two microphones,
one close to each side. Pan to left and
right. Mike bottom bass speaker 3 inches
to 1 foot away and pan its signal to center
Stereo effect.
Leslie organ speaker:
Front View
Top View
Drum kit:
In most sound reinforcement systems, the drum set is miked with each drum having its own mic. Using microphones
with tight polar patterns on toms helps to isolate the sound from each drum. It is possible to share one mic with two
toms, but then, a microphone with a wider polar pattern should be used. The snare requires a mic that can handle
very high SPL, so a dynamic mic is usually chosen. To avoid picking up the hi-hat in the snare mic, aim the null of the
snare mic towards the hi-hat. The brilliance and high frequencies of cymbals are picked up best by a flat response
condenser mic.
1. Overhead-Cymbals:
One microphone over center of drum
set, about 1 foot above drummer’s
head (Position A); or use two spaced
or crossed microphones for stereo
(Positions A or B). See “Stereo
Microphone Techniques” section
Natural; sounds like Picks up ambience and leakage. For cymbal
drummer hears set pickup only, roll off low frequencies. Boost at
10,000 Hz for added sizzle. To reduce excessive
cymbal ringing, apply masking tape in radial
strips from bell to rim.
Microphone Techniques
Microphone Placement
Tonal Balance
Tape gauze pad or handkerchief
on top head to tighten sound.
Boost at 5,000 Hz for attack,
if necessary.
2. Snare drum:
Just above top head at edge of drum,
aiming at top head. Coming in from
front of set on boom (Position C);
or miniature microphone mounted
directly on drum
3. Bass drum (kick drum):
Placing a pad of paper towels where the beater hits the drum will lessen boominess. If you get rattling or buzzing
problems with the drum, put masking tape across the drum head to damp out these nuisances. Placing the mic off
center will pick up more overtones.
Remove front head if necessary.
Mount microphone on boom arm
inside drum a few inches from beater
head, about 1/3 of way in from edge
of head (Position D); or place surfacemount microphone inside drum, on
damping material, with microphone
element facing beater head
good impact
Put pillow or blanket on bottom
of drum against beater head to
tighten beat. Use wooden beater,
or loosen head, or boost around
2,500 Hz for more impact and
good impact
Inside drum gives best isolation.
Boost at 5,000 Hz for attack,
if necessary.
Place microphone or adjust
cymbal height so that puff of
air from closing hi-hat cymbals
misses mike. Roll off bass to
reduce low-frequency leakage.
To reduce hi-hate leakage into
snare-drum microphone, use
small cymbals vertically spaced
1/2” apart.
4. Tom-toms:
One microphone between every
two tom-toms, close to top heads
(Position E); or one microphone just
above each tom-tom rim, aiming at
top head (Position F); or one
microphone inside each tom-tom
with bottom head removed; or
miniature microphone mounted
directly on drum
5. Hi-hat:
Aim microphone down towards the
cymbals, a few inches over edge
away from drummer (Position G).
Or angle snare drum microphone
slightly toward hi-hat to pick up
both snare and hi-hat
Microphone Techniques
Microphone Placement
Tonal Balance
6. Snare, hi-hat and high tom:
Place single microphone a few inches from Natural
snare drum edge, next to high tom, just
above top head of tom. Microphone
comes in from front of the set on a boom
(Position H)
In combination with Placements 3 and 7,
provides good pickup with minimum number
of microphones. Tight sound with little leakage.
7. Cymbals, floor tom and high tom:
Using single microphone, place its grille
just above floor tom, aiming up toward
cymbals and one of high tomes (Position I)
In combination with Placements 3 and 6,
provides good pickup with minimum number of
microphones. Tight sound with little leakage.
One microphone: Use Placement 1. Placement 6 may work if the drummer limits playing to one side of the drum set.
Two microphones: Placements 1 and 3; or 3 and 6.
Three microphones: Placements 1, 2, and 3; or 3, 6, and 7.
Four microphones: Placements 1, 2, 3, and 4.
Five microphones: Placements 1, 2, 3, 4, and 5.
More microphones: Increase number of tom-tom microphones as needed.
Use a small microphone mixer to submix multiple drum microphones into one channel.
Timbales, congas, bongos:
One microphone aiming down between
pair of drums, just above top heads
Provides full sound with good attack.
Experiment with distance and angles if
sound is too bright.
One microphone placed 6 to 12 inches
from instrument
Microphone Techniques
Microphone Placement
Tonal Balance
Bright, with plenty
of attack
Allow clearance for movement of pan.
Steel Drums:
Tenor, Second Pan, Guitar
One microphone placed 4 inches
above each pan
Decent if used for tenor or second pans.
Too boomy with lower voiced pans.
Microphone placed underneath pan
Cello, Bass
One microphone placed 4 - 6 inches
above each pan
Can double up pans to a single microphone.
Pan two microphones to left and right for stereo.
See “Stereo Microphone Techniques” section.
Bright, with lots
of attack
For less attack, use rubber mallets instead of metal
mallets. Plastic mallets will give a medium attack.
Tonal Balance
Voice range,
Use flat response, unidirectional microphones.
Use minimum number of microphones needed to
avoid overlapping pickup area. Use shock mount
if needed.
Voice range,
Use flat response, unidirectional microphones.
Use minimum number of microphones needed to
avoid overlapping pickup area.
Voice range,
on mic
Multiple wireless systems must utilize different
frequencies. Use lavaliere or handheld
microphones as appropriate.
Xylophone, marimba, vibraphone:
Two microphones aiming down toward
instrument, about 1 1/2 feet above it,
spaced 2 feet apart, or angled 135 º
apart with grilles touching
One microphone placed 4 - 6 inches
above bars
Stage area miking
Surface-mount microphones along front
of stage aimed upstage, one microphone
center stage; use stage left and stage
right mics as needed, approximately 1
per 10-15 feet
Microphones suspended 8 -10 feet
above stage aimed upstage, one
microphone center stage; use stage
left and stage right mics as needed,
approximately 1 per 10-15 feet
Spot pickup:
Use wireless microphones on principal
actors; mics concealed in set; “shotgun”
microphones from above or below
Microphone Techniques
Stereo Microphone Techniques
These methods are recommended for pickup of orchestras,
bands, choirs, pipe organs, quartets, soloists. They also
may work for jazz ensembles, and are often used on
overhead drums and close-miked piano.
Use two microphones mounted on a single stand with a
stereo microphone stand adapter (such as the Shure
A27M). Or mount 2 or 3 microphones on separate stands.
Set the microphones in the desired stereo pickup
arrangement (see below).
Coincident Techniques
Microphone diaphragms close
together and aligned vertically;
microphones angled apart.
Example: 1350 angling (X-Y).
Tends to provide a narrow stereo
spread (the reproduced ensemble
does not always spread all the
way between the pair of playback
loud-speakers). Good imaging.
MS (Mid-Side)
A front-facing cardioid cartridge
and a side-facing bidirectional
cartridge are mounted in a single
housing. Their outputs are
combined in a matrix circuit to
yield discrete left and right outputs.
Provides good stereo spread,
excellent stereo imaging and
localization. Some types allow
adjustable stereo control.
Microphones angled and spaced
apart 6 to 10 inches between
grilles. Examples: 110 0 angled,
7-inch spacing
For sound reinforcement, stereo mic techniques are only
warranted for a stereo sound system and even then, they
are generally only effective for large individual instruments,
such as piano or miramba, or small instrument groups,
such as drum kit, string section or vocal chorus. Relatively
close placement is necessary to achieve useable gainbefore-feedback.
Tends to provide accurate image
Microphone Techniques
Spaced Techniques
Two microphones spaced
several feet apart horizontally,
both aiming straight ahead
toward ensemble. Example:
Microphones 3 to 10 feet apart.
Tends to provide exaggerated
separation unless microphone
spacing is 3 feet. However,
spacing the microphones 10 feet
apart improves overall coverage.
Produces vague imaging for
off-center sound sources.
Provides a “warm” sense of
Musical Ensemble
(Top View)
Musical Ensemble
Three microphones spaced
several feet apart horizontally,
aiming straight ahead toward
ensemble. Center microphone
signal is split equally to both
channels. Example:
Microphones 5 feet apart.
Improved localization compared
to two spaced microphones.
(Top View)
Microphone Techniques
Selection Guide
Shure Microphone Selection Guide
Live Vocals
Live Choirs
55SH Series II
Studio Vocals
Spoken Word
Brass /
Beta98 S
Beta56 A
Beta98 S1
Bell mounted with
A98KCS clamp.
A56D enables microphone
to mount on rim.
Acoustic Guitar
Acoustic Bass
Guitar Amp
Bass Amp
Kick Drum
Snare Drum2
Leslie Speaker
Piano / Organ
A50D enables microphone
to mount on rim.
Rack / Floor
For optimum flexibility, use A27M
stereo microphone mount.
Sampling /
Live Stereo
(M-S stereo)
With A81G.
3-to-1 Rule-When using multiple microphones,
the distance between microphones should be at least
3 times the distance from each microphone to its
intended sound source.
Absorption-The dissipation of sound energy by losses
due to sound absorbent materials.
Active Circuitry-Electrical circuitry which requires power
to operate, such as transistors and vacuum tubes.
Ambience-Room acoustics or natural reverberation.
Amplitude-The strength or level of sound pressure or
Audio Chain-The series of interconnected audio
equipment used for recording or PA.
Backplate-The solid conductive disk that forms the
fixed half of a condenser element.
Balanced-A circuit that carries information by means of
two equal but opposite polarity signals, on two conductors.
Bidirectional Microphone-A microphone that picks
up equally from two opposite directions. The angle of
best rejection is 90 deg. from the front (or rear) of the
microphone, that is, directly at the sides.
Boundary/Surface Microphone-A microphone designed
to be mounted on an acoustically reflective surface.
Cardioid Microphone-A unidirectional microphone with
moderately wide front pickup (131 deg.). Angle of best
rejection is 180 deg. from the front of the microphone,
that is, directly at the rear.
Cartridge (Transducer)-The element in a microphone
that converts acoustical energy (sound) into electrical
energy (the signal).
Close Pickup-Microphone placement within 2 feet of a
sound source.
Comb Filtering-An interference effect in which the
frequency response exhibits regular deep notches.
Condenser Microphone-A microphone that generates
an electrical signal when sound waves vary the spacing
between two charged surfaces: the diaphragm and the
Microphone Techniques
Critical Distance-In acoustics, the distance from a sound
source in a room at which the direct sound level is equal
to the reverberant sound level.
Current-Charge flowing in an electrical circuit.
Analogous to the amount of a fluid flowing in a pipe.
Decibel (dB)-A number used to express relative output
sensitivity. It is a logarithmic ratio.
Diaphragm-The thin membrane in a microphone which
moves in response to sound waves.
Diffraction-The bending of sound waves around an
object which is physically smaller than the wavelength
of the sound.
Direct Sound-Sound which travels by a straight path
from a sound source to a microphone or listener.
Distance Factor-The equivalent operating distance of a
directional microphone compared to an omnidirectional
microphone to achieve the same ratio of direct to
reverberant sound.
Distant Pickup-Microphone placement farther than
2 feet from the sound source.
Dynamic Microphone-A microphone that generates an
electrical signal when sound waves cause a conductor to
vibrate in a magnetic field. In a moving-coil microphone,
the conductor is a coil of wire attached to the diaphragm.
Dynamic Range-The range of amplitude of a sound
source or the range of sound level that a microphone
can successfully pick up.
Echo-Reflection of sound that is delayed long enough
(more than about 50 msec.) to be heard as a distinct
repetition of the original sound.
Electret-A material (such as Teflon) that can retain a
permanent electric charge.
EQ-Equalization or tone control to shape frequency
response in some desired way.
Feedback-In a PA system consisting of a microphone,
amplifier, and loudspeaker feedback is the ringing or
howling sound caused by amplified sound from the loudspeaker entering the microphone and being re-amplified.
Microphone Techniques
Flat Response-A frequency response that is uniform and
equal at all frequencies.
Frequency-The rate of repetition of a cyclic phenomenon
such as a sound wave.
Frequency Response Tailoring Switch-A switch on a
microphone that affects the tone quality reproduced by
the microphone by means of an equalization circuit.
(Similar to a bass or treble control on a hi-fi receiver.)
Frequency Response-A graph showing how a microphone
responds to various sound frequencies. It is a plot of
electrical output (in decibels) vs. frequency (in Hertz).
Fundamental-The lowest frequency component of a
complex waveform such as musical note. It establishes
the basic pitch of the note.
Gain-Amplification of sound level or voltage.
Gain-Before-Feedback-The amount of gain that can
be achieved in a sound system before feedback or
ringing occurs.
Harmonic-Frequency components above the fundamental
of a complex waveform. They are generally multiples of the
fundamental which establish the timbre or tone of the note.
Hypercardioid-A unidirectional microphone with tighter
front pickup (105 deg.) than a supercardioid, but with
more rear pickup. Angle of best rejection is about 110
deg. from the front of the microphone.
Impedance-In an electrical circuit, opposition to the
flow of alternating current, measured in ohms. A high
impedance microphone has an impedance of 10,000
ohms or more. A low impedance microphone has an
impedance of 50 to 600 ohms.
Interference-Destructive combining of sound waves or
electrical signals due to phase differences.
Inverse Square Law-States that direct sound levels
increase (or decrease) by an amount proportional to
the square of the change in distance.
Isolation-Freedom from leakage; ability to reject
unwanted sounds.
Leakage-Pickup of an instrument by a microphone
intended to pick up another instrument. Creative leakage
is artistically favorable leakage that adds a “loose” or
“live” feel to a recording.
NAG-Needed Acoustic Gain is the amount of gain that a
sound system must provide for a distant listener to hear
as if he or she was close to the unamplified sound source.
Noise-Unwanted electrical or acoustic interference.
Noise Canceling-A microphone that rejects ambient or
distant sound.
NOM-Number of open microphones in a sound system.
Decreases gain-before-feedback by 3dB everytime NOM
Omnidirectional Microphone-A microphone that picks
up sound equally well from all directions.
Overload-Exceeding the signal level capability of a
microphone or electrical circuit.
PAG-Potential Acoustic Gain is the calculated gain that a
sound system can achieve at or just below the point of
Phantom Power-A method of providing power to the
electronics of a condenser microphone through the
microphone cable.
Phase-The “time” relationship between cycles of
different waves.
Pickup Angle / Coverage Angle-The effective arc of
coverage of a microphone, usually taken to be within
the 3dB down points in its directional response.
Pitch-The fundamental or basic frequency of a musical
Polar Pattern (Directional Pattern, Polar Response)A graph showing how the sensitivity of a microphone
varies with the angle of the sound source, at a particular
frequency. Examples of polar patterns are unidirectional
and omnidirectional.
Polarization-The charge or voltage on a condenser
microphone element.
Pop Filter-An acoustically transparent shield around a
microphone cartridge that reduces popping sounds.
Often a ball-shaped grille, foam cover or fabric barrier.
Pop-A thump of explosive breath sound produced
when a puff of air from the mouth strikes the
microphone diaphragm. Occurs most often with “p,”
“t,” and “b” sounds.
Presence Peak-An increase in microphone output in the
“presence” frequency range of 2000 Hz to 10,000 Hz.
A presence peak increases clarity, articulation, apparent
closeness, and “punch.”
Proximity Effect-The increase in bass occurring with
most unidirectional microphones when they are placed
close to an instrument or vocalist (within 1 ft.). Does not
occur with omnidirectional microphones.
Rear Lobe-A region of pickup at the rear of a
supercardioid or hypercardioid microphone polar
pattern. A bidirectional microphone has a rear lobe
equal to its front pickup.
Reflection-The bouncing of sound waves back from
an object or surface which is physically larger than the
wavelength of the sound.
Refraction-The bending of sound waves by a change
in the density of the transmission medium, such as
temperature gradients in air due to wind.
Microphone Techniques
Sound Chain-The series of interconnected audio
equipment used for recording or PA.
Sound Reinforcement-Amplification of live sound
Speed of Sound-The speed of sound waves, about
1130 feet per second in air.
SPL-Sound Pressure Level is the loudness of sound
relative to a reference level of 0.0002 microbars.
Standing Wave-A stationary sound wave that is
reinforced by reflection between two parallel surfaces
that are spaced a wavelength apart.
Supercardioid Microphone-A unidirectional microphone
with tighter front pickup angle (115 deg.) than a cardioid,
but with some rear pickup. Angle of best rejection is
126 deg. from the front of the microphone, that is,
54 deg. from the rear.
Timbre-The characteristic tone of a voice or instrument;
a function of harmonics.
Transducer-A device that converts one form of energy to
another. A microphone transducer (cartridge) converts
acoustical energy (sound) into electrical energy (the
audio signal).
Transient Response-The ability of a device to respond
to a rapidly changing input.
Resistance-The opposition to the flow of current in an
electrical circuit. It is analogous to the friction of fluid
flowing in a pipe.
Unbalanced-A circuit that carries information by means
of one signal on a single conductor.
Reverberation-The reflection of a sound a sufficient
number of times that it becomes non-directional and
persists for some time after the source has stopped.
The amount of reverberation depends on the relative
amount of sound reflection and absorption in the room.
Unidirectional Microphone-A microphone that is
most sensitive to sound coming from a single directionin front of the microphone. Cardioid, supercardioid,
and hypercardioid microphones are examples of
unidirectional microphones.
Rolloff-A gradual decrease in response below or above
some specified frequency.
Voice Coil-Small coil of wire attached to the diaphragm
of a dynamic microphone.
Sensitivity-The electrical output that a microphone
produces for a given sound pressure level.
Voltage-The potential difference in an electric circuit.
Analogous to the pressure on fluid flowing in a pipe.
Shaped Response-A frequency response that exhibits
significant variation from flat within its range. It is
usually designed to enhance the sound for a particular
Wavelength-The physical distance between the start
and end of one cycle of a soundwave.
Microphone Techniques
Rick Waller
Tim Vear
Now residing in the Chicago area, Rick grew up near Peoria,
Tim is a native of Chicago who has come to the audio field
Illinois. An interest in the technical and musical aspects of audio
as a way of combining a lifelong interest in both entertainment
has led him to pursue a career as both engineer and musician.
and science. He has worked as an engineer in live sound,
He received a BS degree in Electrical Engineering from the
recording and broadcast, has operated his own recording studio
University of Illinois at Urbana/Champaign, where he specialized
and sound company, and has played music professionally since
in acoustics, audio synthesis and radio frequency theory. Rick is
high school.
an avid keyboardist, drummer and home theater hobbyist and
At the University of Illinois, Urbana-Champaign, Tim earned
has also worked as a sound engineer and disc jockey. Currently
a BS in Aeronautical and Astronautical Engineering with a minor
he is an associate in the Applications Engineering Group at Shure
in Electrical Engineering. During this time he also worked as chief
Incorporated. In this capacity Rick provides technical support to
technician for both the Speech and Hearing Science and
domestic and international customers, writing and conducting
Linguistics departments.
seminars on wired and wireless microphones, mixers and other
audio topics.
In his tenure at Shure Incorporated, Tim has served in a
technical support role for the sales and marketing departments,
providing product and applications training for Shure customers,
John Boudreau
John, a lifelong Chicago native, has had extensive experience
seminars for a variety of domestic and international audiences,
as a musician, a recording engineer, and a composer. His desire
including the National Systems contractors Association, the Audio
to better combine the artistic and technical aspects of music led
Engineering Society and the Society of Broadcast Engineers.
him to a career in the audio field.
Tim has authored several publications for Shure Incorporated and
Having received a BS degree in Music Business from
Elmhurst College, John performed and composed for both a Jazz
and a Rock band prior to joining Shure Incorporated in 1994 as
an associate in the Applications Engineering group. At Shure,
John led many audio product training seminars and clinics, with
an eye to helping musicians and others affiliated with the field
use technology to better fulfill their artistic interpretations.
No longer a Shure associate, John continues to pursue his
interests as a live and recorded sound engineer for local bands
and venues, as well as writing and recording for his own band.
dealers, installers, and company staff. He has presented
his articles have appeared in Recording Engineer/Producer, Live
Sound Engineering, Creator, and other publications.
Additional Shure Publications Available:
Printed or electronic versions of the following guides are available free of charge.
To obtain your complimentary copies, call one of the phone numbers listed below or
• Selection and Operation of Wireless Microphone Systems
• Audio Systems Guide for Video Production
• Audio Systems Guide for Houses of Worship
• Microphone Techniques for Studio Recording
Our Dedication to Quality Products
Shure offers a complete line of microphones and wireless microphone systems for everyone
from first-time users to professionals in the music industry–for nearly every possible application.
For over eight decades, the Shure name has been synonymous with quality audio.
All Shure products are designed to provide consistent, high-quality performance under the
most extreme real-life operating conditions.
United States:
Shure Incorporated
5800 West Touhy Avenue
Niles, IL 60714-4608 USA
Europe, Middle East, Africa:
Shure Europe GmbH
Wannenäckerstr. 28,
74078 Heilbronn, Germany
Phone: 847-600-2000
Fax: 847-600-1212
Email: [email protected]
Phone: 49-7131-72140
Fax: 49-7131-721414
Email: [email protected]
10M 12/07
Asia, Pacific:
Shure Asia Limited
3/F, Citicorp Centre
18 Whitfield Road
Causeway Bay, Hong Kong
Canada, Latin America,
Shure Incorporated
5800 West Touhy Avenue
Niles, IL 60714-4608 USA
Phone: 852-2893-4290
Fax: 852-2893-4055
Email: [email protected]
Phone: 847-600-2000
Fax: 847-600-6446
Email: [email protected]
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