April 1st, 2010 | 
Author: Because each microphone has a distinct personality, deciding which one to use on a particular sound source is an individual choice. There is no proper way to mic anything if it sounds good, do it. However, keep in mind the microphone’s mechanical limits, such as the maximum volume it can handle before it begins distorting or gets damaged, which is indicated by the sound pressure level SPL in the mic’s spec sheet. You don’t want to spend 500 on a microphone only to ruin the diaphragm by hitting it with too high an SPL.
A microphone’s position in relation to the sound source also can affect frequency response. When a directional condenser microphone is placed close to a sound source, low frequencies are boosted. This is called the proximity effect. Because omnidirectional microphones pick up sound from all directions, they do not exhibit this effect. Offaxis coloration is another characteristic of directional microphones. Sound from outside the microphone’s optimum pattern can interfere with the desired sound source, making the overall image ill defined or muddy.
As you’re finding the right placement for the mic, don’t forget to factor in the sound of the room. Listen for any ambient noise, strange hums, bizarre reflections, and reverberation. You may decide to put the microphones closer to the instrument to diminish the environmental interference. This is called tight, or close, miking. Be sure to bring your ear down to where the microphone is placed to get a perspective of what the microphone hears. To get a better idea of what the mic is hearing, plug one ear and put the other close to the sound source. Just be careful that the volume of the sound source isn’t loud enough to damage your hearing when you do this.
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