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Recording Basics
MXL microphones are the result of world-class engineering and manufacturing capabilities.
They are designed to provide you with outstanding performance and
exceptional value. A high quality studio microphone is one of the essential
tools in any musician's equipment arsenal. To help you obtain the best results
from your new purchase, we've provided some tips, tricks, and answers to
commonly asked questions. We encourage you to review these materials.
A Little Background Information
MXL condenser microphones use what is known as a cardioid
pickup pattern, which is more sensitive to sound waves arriving at
the front of the microphone as opposed to those arriving from the
sides or rear. This characteristic makes the cardioid microphone an
excellent choice for many recording applications. While there are
no hard and fast rules for microphone positioning, the following
setups are a good place to begin as they work well in many recording
situations - though we encourage you to experiment.
We also recommend you use a shockmount with your microphone.
Shockmounts de-couple the microphone from the micstand and the
environment. With a shockmount, you minimize floor noise as well
as any noise induced by people handling the microphone stand.
Shockmounts should be considered "standard equipment" for all
recording applications.
Exercise care while handling your microphone. Your microphone's
capsule is the "crown jewel" of the instrument. Avoid jarring or
dropping the microphone. These vibrations - including tapping on
the microphone to "test" its operation - can cause damage to the
capsule and other electronics. You should also protect the capsule
from wind. Avoid testing the microphone by blowing into it. If you
find yourself recording an outdoor performance, you would be well
advised to use a windscreen as protection for your microphone.
The front of the microphone is always indicated by the position
of the cardioid pattern symbol 
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Recording Vocals and Dialog
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Ideally, you want to record vocals in a relatively "dead" room. If you clap your
hands and get an echo effect, you should consider adding some carpet, blankets,
drapes, or other sound absorbing materials. On that note, make every effort
to avoid getting too close to the room's walls. These hard, reflective surfaces
can easily complicate the recording process. Move your mic setup toward the
room's center.
Generally, you should position the vocalist roughly 6 - 8 inches away from the
microphone. Getting too close to the microphone tends to increase bass response
and can create problems with plosive sounds - those popping Ps, Bs, Ds, and Ts
(more on this in a moment). Getting too far away makes the microphone more
subject to picking up room ambience - a sound that creates the effect of the
vocalist being in a bowl. While vocalists may need to move about in order to
hit those high notes, make every effort to maintain a constant distance from the
microphone, as this will provide the greatest tonal balance. (see Fig. 1) |
| For the most part, the microphone's axis (or center line) should aim toward the nose and
mouth to obtain the fullest sound. It's not a bad idea, however, to experiment
angling the microphone slightly away from dead center so as to help minimize
plosives. Further, you should always place a "pop" filter between the vocalist
and the microphone, with the pop filter positioned 3 - 4 inches in front of the
microphone. This will greatly increase your ability to achieve the most natural
sounding recordings with minimal interference from plosive sounds. Fixing
plosives with audio editing software often creates more of a problem than the
plosive itself. Use of a pop filter will also protect your microphone's sensitive
capsule - keeping it free from moisture caused by saliva projecting from the
performer's mouth, and breath condensation. Remember... Good microphone
technique, proper positioning, and use of a pop filter can make all the difference
between a so-so vocal recording and a great one.
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Recording Acoustic Guitar
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While it may seem obvious, your best
results for capturing the acoustic guitar
(or any similar stringed instrument
for that matter) begin with a properly
tuned instrument and strings that,
while not old, aren't so new so as to
create tuning issues due to stretching.
There are two optimum points for
microphone positioning - either near
the bridge or by the twelfth fret.
While it may seem natural to place the
microphone in front of the instrument's
sound hole, doing so usually increases
low frequency response to the point of
making the instrument sound "boomy."
Twelfth Fret Placement: Placing the
microphone roughly 2 - 4 inches from
the twelfth fret and aimed directly at
the strings will generally produce a
warm, full bodied sound with good
tonal balance. Using this technique,
the sound hole's contribution will be
moderated since the microphone is
not pointed directly at it. |
| Bridge Placement: Similarly, you
can position the microphone so it is
3 - 6 inches from the guitar's bridge.
This will generally produce a
somewhat brighter tonal quality. You
should also be prepared to experiment
positioning the microphone slightly
off-axis should you find yourself
capturing too much low frequency
response from the guitar's sound hole.
The acoustical characteristics of your
room will also have a pronounced
effect on your results. A "live" room
will produce an overall "brighter"
guitar sound, while a "damped" room
will produce more of a mellow tone.
If you have two microphones, you
may wish to experiment using one
in close proximity to the guitar as
previously described, with the second
microphone on a stand a few feet
away to capture the room's ambience.
Blending the two sources can
produce excellent results. |
Recording an Amplified (Electric) Guitar
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While the electric guitar can certainly
be recorded directly, there are times
when there is simply no substitute for
the sound of a real amplifier. Guitar
amps have particular gain stages that
facilitate the popular "crunch" guitar
sound. While digital modeling and
processing systems certainly have
their place, they may not have the
same level of realism as the sound
from an amplifier. A small guitar amp
can be just as effective for this application
as a stack, because you don't
necessarily need to "crank" the volume.
Instead, you want to increase the amp's
initial gain to achieve the desired
amount of overdrive.
Typically, a guitar amp is close miked
to achieve the highest direct sound.
Placing the microphone roughly 4
inches from the grill, aimed directly at
the center of the loudspeaker will
produce the most "edge" to your
sound. |
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By angling the microphone
slightly off axis and towards the wall,
you can add more "room sound."
Experimentation is a key factor in
achieving the sound you are looking
for. (see Fig. 3)
Placement of the amp is another
important factor. If the amplifier sits
on a carpeted floor, you are more
likely to reduce the amount of
brightness in the sound. Similarly,
elevating the amplifier off the floor
may result in a loss of low end. If
you're looking for a big reverberant
tone, placing the amp and microphone
in the bathroom is another popular
technique. The hard tiles and other
reflective surfaces can do wonders for
a dull sound. In this case, move the
microphone back a few feet from the
loudspeaker and crank it up! |
Recording the Piano
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The piano is one of the most challenging instruments to record, and many
problems stem from the quality and maintenance of the instrument itself. You'll
obtain the best results by using an instrument that has just been tuned and is in
good mechanical condition.
The piano is generally recorded using close miking technique. Ideally, you'll want a minimum of two microphones. Usually, the microphone capturing the higher
strings is assigned to the left channel and the microphone capturing the lower
strings is assigned to the right channel in the final stereo mix, though the stereo
spread generally is not hard left and right. While a single microphone can be used,
the lower and upper extremities of the instrument will likely be compromised.
Grand Piano: For the upper strings, position the microphone approximately 8
inches from the piano hammers (to reduce mechanical noise) and 8 - 11 inches
above the strings, with the Pan position set to left of center. |
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For the lower strings, position the microphone toward the far end (away from the keyboard) roughly 6 - 12 inches from the end and 8 - 11 inches above the strings, with the Pan position set to right of center. Position the piano's lid at full stick. (see Fig. 4A)
If you are using a single microphone, position the microphone approximately 8
inches from the piano hammers (to reduce mechanical noise) and 8 - 11 inches
above the strings - centered over the piano's mid point. Pan position should be
centered and the piano's lid should be at full stick.
Upright Piano: With an upright piano, the two microphones are generally
placed either just over the top of the piano with the top open, or you can remove
the piano's front panel beneath the keyboard and place the microphones below.
Front Panel Placement: For the upper strings, position the microphone
approximately 8 - 11 inches away from the strings, with the Pan position set to
left of center. For the lower strings, position the microphone 8 - 11 inches away
from the strings, with the Pan position set to right of center. (see Fig. 4B)
Single Microphone / Open Top: If you are using a single microphone, it is
generally recommended that you record from above, as placement of the
microphone in the lower center may interfere with the performer's ability to
access the pedals and the microphone will likely pick up excessive pedal and
other mechanical noise. Position the microphone just over the open top,
centered over the instrument. (see Fig. 4C)
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Recording a Drum Set
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Like the piano, capturing the drums can be quite a challenge, if for no other
reason than the fact that you must be very careful to avoid positioning the
microphone(s) where they could be hit! Ideally you'll want a minimum of two
microphones for this job, though a single microphone can be employed.
Stereo Overhead Pair: Position the two microphones approximately 16 - 20
inches above the performer's head - separated laterally by roughly 2 - 3 feet and
placed 5 - 6 feet out in front of the drum kit. Adjust the two microphone's Pan
position so that you achieve a good stereo spread, though generally not hard left
and right. (see Fig. 5A)
Single Overhead Microphone: Position the microphone approximately 16 - 20
inches above the performer's head - centered in front of the drum set, and placed
5 - 6 feet out in front. The microphone's Pan position should be centered for
mono drums. (see Fig. 5B)
For best results, record the drums in as acoustically "dead" a room as you can. If
the room is live, the sharp attack transients of the drum kit will only become that
much more difficult to capture if the room has hard, reflective surfaces - resulting
in a muddy sound without any real definition. Further, you should always
record the drums dry and add signal processing after the fact.
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