Proper Microphone Placement: Simple Rules and Pitfalls

TL;DR

Good placement = less EQ and compression. Three levers: proximity (better S/N), directivity/angle (useful rejection), coherence between mics (3:1 rule). Aim for intelligibility, not quantity of high frequencies.

1) The 3 Fundamental Principles

1.1 Proximity

Moving the mic closer reduces ambient sound and improves signal-to-noise ratio → less feedback.

Proximity is your first ally for a clean signal. The closer the mic is to the source, the less it picks up room ambience and monitors. This directly improves signal-to-noise ratio and reduces feedback risks.

1.2 Angle (off-axis)

Orient the rejection lobe toward problematic sources (monitors, cymbals, wedges).

Each microphone has a directivity pattern (cardioid, hypercardioid, supercardioid). Use rejection lobes to eliminate unwanted sources. Smart placement can replace multiple EQ cuts.

1.3 Coherence: The 3:1 Rule

Between two mics on the same source, respect 3:1 (inter-mic distance ≥ 3× the shortest source-mic distance) to limit comb filtering.

Concrete example:
- Mic 1 at 10 cm from source
- Mic 2 must be at minimum 30 cm from source (3 × 10 cm)
- Distance between the two mics: minimum 30 cm

This rule limits phase issues and comb filtering. To learn more, see our article on Phase vs Polarity: Understanding Comb Filtering.

2) Common Placement Cases

2.1 Snare Drum

• Position: aim for center at 30–45° angle
• Distance: 3–8 cm
• Pitfall to avoid: hi-hat in the mic's axis

A 30–45° angle reduces transient aggressiveness while preserving attack.

2.2 Kick Drum

• Internal mic → attack and punch
• External mic → body and low end
• Watch out: air blast (use pop filter or off-axis placement)

2.3 Toms

• Proximity + angle toward the head
• Avoid: cymbals in the mic's lateral axis

2.4 Hi-Hat

• Small diaphragm above, off-axis from snare
• Goal: capture hi-hat without snare

2.5 Electric Guitar

• On speaker: center = bright, edge = softer
• Angle to adjust tone to your needs

2.6 Vocals

• Distance: 5–10 cm
• Axis adapted to mic directivity
• Tip: try light off-axis to tame sibilant "s" sounds

Light off-axis placement (10–15°) can reduce sibilance better than a de-esser.

3) Feedback Management

3.1 Finding the Feedback Lobe

1. Move slowly the microphone
2. Listen for the feedback point
3. Correct the angle or monitor position

3.2 Height Adjustment

Move the mic slightly up/down to exit a feedback node.

Sometimes, a vertical displacement of a few centimeters is enough to eliminate a feedback point.

3.3 Smart Off-Axis

Prefer natural rejection over extreme notching.

Good placement is better than aggressive EQ. Use mic directivity before cutting frequencies.

4) Phase and Comb Filtering

When two mics capture the same source with a time delay, some frequencies add/subtract → comb filtering.

4.1 Symptoms

• Hollow/thin sound
• Unstable when moving a mic
• Lack of body in low-mids

4.2 Remedies

1. 3:1 rule: respect distances
2. Fine delays if needed for realignment
3. Polarity inversion: useful but doesn't fix temporal phase

To understand the difference between phase and polarity, see our dedicated article: Phase vs Polarity: Understanding Comb Filtering.

5) Quick Checklist

Before finalizing your placement, check:

• ✅ Sufficient proximity without hindering performance
• ✅ Angle oriented toward source, rejection toward nuisances
• ✅ Monitors off-axis from mic
• ✅ A/B with and without EQ: if EQ becomes minimal, your placement is good

Did You Know?

• Light off-axis on vocals can reduce sibilance better than a de-esser
• Handling noise decreases significantly with proper suspension/clamp
• The 3:1 rule also applies to monitor mics (wedges): mic-wedge distance ≥ 3× source-mic distance

Additional Resources

• Phase vs Polarity: Understanding Comb Filtering - Understanding phase issues
• Dynamic vs Condenser Microphone - Choosing the right mic
• Miking a Trumpet - Specific case for brass
• Live Gain Staging - Optimize levels after placement