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APPLICATIONS AND PLACEMENT
General Rules for Use
Aim the microphone toward the desired sound source (such as the •
talker, singer, or instrument) and away from unwanted sources.
Place the microphone as close as practical to the desired sound •
source.
Work close to the microphone for extra bass response. •
Use only one microphone to pick up a single sound source. •
Use the fewest number of microphones as practical. •
Keep the distance between microphones at least three times the •
distance from each microphone to its source.
Place microphones as far as possible from reflective surfaces. •
Add a windscreen when using the microphone outdoors. •
Avoid excessive handling to minimize pickup of mechanical noise •
and vibration.
Do not cover any part of the microphone grille with your hand, as •
this will adversely affect microphone performance.
APPLICATION SUGGESTED MICROPHONE PLACEMENT TONE QUALITY
Tom-Toms One mic on each tom, or between each pair of toms, 2.5 to 7.5 cm (1 to 3 in.) above drum heads. Aim
each microphone at top drum heads. On double head toms, you can also remove bottom head and place
a mic inside pointing up toward top drum head.
Medium attack; full, balanced sound.
Snare Drum 2.5 to 7.5 cm (1 to 3 in.) above rim of top head of drum. Aim mic at drum head. If desired, place a
second mic just below rim of bottom head.
Most “snap” from drumstick. More “snare”
sound
Guitar & Bass
Amplifiers
2.5 cm (1 in.) from speaker, on-axis with center of speaker cone. Sharp attack; emphasized bass.
2.5 cm (1 in.) from speaker, at edge of speaker cone. Sharp attack; higher frequency sound.
15 to 30 cm (6 to 12 in.) away from speaker and on-axis with speaker cone. Medium attack; full, balanced sound.
60 to 90 cm (2 to 3 ft .) back from speaker, on-axis with speaker cone. Softer attack; reduced bass.
Vocals Lips less than 15 cm (6 in.) away or touching the windscreen, on axis to microphone. Robust sound, emphasized bass, maximum
isolation from other sources.
Avoiding Pickup of Unwanted Sound Sources
Place the microphone so that unwanted sound sources, such as monitors and
loudspeakers, are directly behind it. To minimize feedback and ensure optimum
rejection of unwanted sound, always test microphone placement before a
performance.
MONITOR
P.A. LOUDSPEAKER
Proximity Effect
Unidirectional microphones such as the SM57 progressively boost bass frequencies by 6 to 10 dB below 100 Hz when the
microphone is at a distance of about 6 mm (1/4 in.) from the sound source. This phenomenon, known as proximity effect, can
be used to create a warmer, more powerful sound. To prevent explosive low frequency sound during close-up use, the SM57 bass
response gradually rolls off. This provides greater control and helps the user take advantage of proximity effect.
RECOMMENDED LOUDSPEAKER LOCATIONS FOR
CARDIOID MICROPHONES
The following table lists the most common applications and placement techniques. Keep in mind that microphone technique is largely a matter of personal taste;
there is no one “correct” microphone position.
APPLICATIONS ET PLACEMENT
APPLICAZIONI E COLLOCAZIONE
ANWENDUNG UND PLATZIERUNG
USOS Y COLOCACION