Microphones 593
pads is essential. Additional padding may be necessary
between the microphone output and the mixer input.
The correct micing procedure for percussion instru-
ments depends on the effect desired. A distant micing
position is often justified when the sound of the room
reverberation adds to the effectiveness of the instru-
ment. Tambourine and handclaps often benefit from the
sound of a good room. The resultant sense of space can
produce better depth in the recording, and/or the explo-
sive nature of a large, live room can add tremendous
punch to the part.
On the other hand, the highly present sound of close
micing might be more appropriate in another musical
situation. Close, in this sense, might range from frac-
tions of an inch to a couple of feet. Handheld instru-
ments, like claves, must be played at a uniform distance
from the microphone, which becomes more critical as
the distance decreases.
16.13.5 Conclusion
It is important to remember that there is never only one
way to position microphones. The techniques presented
here are representative of the methods widely used in
the recording and sound-reinforcement industries, but
such practices have evolved over many years. Some are
traditional; however, there may be better ways. Using
the procedures outlined will result in reasonably accu-
rate reproduction, or commercial reproduction as it
applies to mainstream music recording. Since sound
reproduction can be a creative endeavor, experimenta-
tion may yield new techniques. The exact reproduction
of the original sound may not be the goal. Perhaps the
engineer is attempting to obtain a previously unheard
sound or effect. When the luxury of experimentation is
available, the engineer may well use the time to pioneer
new techniques that can supplement or even replace
existing procedures.
Acknowledgments
Thanks to Michael Pettersen, Shure Incorporated, for his assistance in updating and correcting this chapter.
References
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- Ibid., pp. 150-151, 152.
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