Reference: MIC-RECIPES-01. The existing
Mic Setup & Placement Field
Techniques guide covers general handling — windscreens, phantom power, the open-mic
gain rule. This is the source-by-source cookbook: where to actually start the capsule for
a given instrument, and what moving it does to the tone. Treat every distance here as a
starting point to adjust by ear, not a fixed spec.
Vocals
Lead vocal
Capsule 1–2in from the mouth, slightly off-axis to reduce plosives (P/B pops). Closer = more proximity-effect warmth and better gain-before-feedback; further = more room/leakage.
Backing vocals / choir
For a single close mic per singer, same as lead. For a group on one or two mics, back off to 1–3ft and rely on the group blending naturally rather than close-micing each voice.
Strings
Acoustic guitar
Aim at the 12th-fret area, 6–12in back, rather than directly at the soundhole — soundhole placement picks up boomy low-mid buildup.
Violin / viola
6–12in above and slightly behind the bridge, angled down toward the f-holes.
Cello
6–12in from the f-holes, angled to avoid picking up excessive bow noise.
Banjo
Similar to acoustic guitar — off the head, not dead-center, to control the inherent brightness.
Harp
One mic near the soundboard (lower register), optionally a second nearer the strings' upper register for a wider pickup.
Bass (upright, acoustic)
Near a f-hole, several inches back to avoid overloading on transient thumps; often blended with a pickup/DI for stage bleed and level consistency.
Keys
Grand piano (lid up)
Pair of mics inside the lid — one over the bass strings, one over the treble/hammers — spaced/angled per your preferred stereo technique.
Upright piano
Open the top and mic downward into the harp, or mic the soundboard from behind if the top can't open.
Brass & Woodwind
Trumpet / trombone
Off-axis to the bell, 8–12in+ back — directly in the bell's direct path is both harsh and dangerously loud for the capsule at close range.
Saxophone
Mic toward the middle of the body (not just the bell) to capture the instrument's full tonal range, not just the lowest notes exiting the bell.
Flute
Near the mouthpiece/headjoint from the side, angled to avoid a direct blast of breath noise across the capsule.
Harmonica (amplified/bullet mic)
Cupped directly in the hands with the mic — this is the one instrument on this list where "right up against it" is the correct, intentional technique.
Accordion
One mic per side (treble keys and bass buttons) if you need control over the balance between them, or a single mic centered further back for a simpler, more natural blend.
Amps & Electric/Amplified Instruments
Electric guitar amp
On-axis or slightly off-axis to the speaker cone, capsule near the grille (an inch or so back). On-axis and centered on the cone = brightest; off-axis/edge-of-cone = warmer, less fizz.
Bass amp
Similar to guitar amp placement, typically blended with a DI out of the bass or amp's line out for low-end consistency night to night.
Keyboard amp / combo
Same general approach as guitar amp, or DI direct if the keyboard has a clean line out and the amp's tone isn't essential to the sound.
Leslie (rotating speaker) cabinet
Typically two mics — one on the rotating high-frequency horn, one on the low-frequency rotor/woofer — to capture the characteristic modulation from both halves of the cabinet.
Drums & Percussion
Kick drum
Inside the resonant head's port hole (if present) or close to the beater head, often off-center. A pillow/blanket against the batter head inside the shell tightens up the attack and controls ring.
Snare (top)
1–2in above the rim, angled in toward the center, avoiding the hi-hat's direct path as much as the kit layout allows.
Snare (bottom, optional)
Under the drum aimed at the snare wires, phase-aligned (often polarity-inverted at the console) against the top mic.
Toms
Same general approach as snare top — angled in from above the rim, close enough for isolation from the rest of the kit.
Overheads
A stereo pair (see the separate Stereo Miking Technique Reference) positioned to capture cymbals and the kit's overall balance, not just the loudest individual drum.
Timbales / congas / bongos
Angled in from above or the side per drum, close enough for isolation on a busy stage, avoiding direct on-axis placement into the strike zone where hand contact can cause handling noise.
Tambourine / hand percussion
Usually captured incidentally by nearby vocal/overhead mics rather than dedicated micing, unless it's a featured, consistent part of the arrangement.
Steel drums (pan)
Angled down into the playing surface from above, positioned to avoid the performer's hands/mallets during normal playing motion.
Mallet percussion (marimba, vibraphone)
A pair of mics above the bars, spaced across the instrument's width for even pickup across its full range.
Stage-Area / Ambient
Stage/audience ambience
Positioned away from direct sources, aimed to capture the room and crowd energy for a broadcast or recording mix — not typically part of the reinforcement mix itself.
Source: Shure Incorporated, Microphone Techniques for Live Sound Reinforcement,
pp.22–31 "Microphone Placement." Rewritten in Ryan's own words from the source
material.