Microphone type: Dynamic, low ranging frequency response, high SPL handling capability

Placement: The exact location of a kick drum microphone can drastically affect the tonal characteristics of the recorded sound.

Placing the mic closer to the batter head (beater) of the drum will significantly enhance the level of the 'click' and therefore increase the attack of the drum.

Moving the microphone farther away from the batter head will make the tone much more dull and natural. Many people prefer the mic to be positioned just outside of the port (hole) to capture more booming bass.

For ultimate control try a Shure Beta 91 sitting inside the drum close to the beater along with a Shure Beta 52 just outside of the port.

Microphone type: Hyper cardioid, dynamic or 'pencil' condenser, with reasonably bright response

Placement: Generally, the best place for for mic placement is above the top head, 2cm inside the rim, pointing at an imaginary point at the centre of the bottom head.
An optional extra bottom snare mic is also useful, for adding a bright tone to the recorded sound, be careful however to reverse the phase of one of the microphones to reduce phase cancellation.

The most popular mic for snare is the Shure SM57. Other mics include Shure Beta 57, Shure Beta 56, & Seinheiser 421.

Microphone type: Hyper cardioid condenser.

Placement: The majority of the time whilst recording a drum kit the hi-hats are picked up by the room and ambient microphones, and close microphones are really only used to add a little definition. Try placing the mic on the opposite side of the cymbal to the snare drum, and experiment with distances for the desired effect.

The closer the microphone is to the cymbal the brighter and more defined the resultant sound will be.

Placing the microphone a little more distant will result in a more natural 'open' sound.

Microphone type: Cardioid dynamic microphone or certain cardioid condenser microphones.

Placement: Placing the microphone about 2-3 cm inside the top rim of the drum, pointing at the centre of the bottom skin, will usually give a balanced, yet focused sound.

Microphone type: Cardioid condenser microphones, preferably a matched stereo pair.

Placement: There are three basic standard options here:

1. Spaced distant pair - in this configuration the microphones are placed high above the kit, with a 4-6 feet gap between them, each microphone points straight downwards towards the kit.
   This approach gives a decent stereo mage, with a lot of differentiation between each side of the kit.
2. Close spaced pair - in this configuration the microphones are placed a lot closer to the cymbals, pointing directly at the centre of the cymbal where possible. This approach gives great control over the levels of each side of the kit, but compromises with quality of stereo image.
3. Crossed pair - in this configuration the microphones are placed high above the centre of the kit, and crossed to point at opposite sides of the kit.
   This approach achieves an excellent stereo image, and minimizes any phase problems between the two microphones. This is a very natural sounding way to record.

Another method uses 4 of the same cardioid condenser microphones. 2 are placed high above the kit as either a 'spaced distant pair' or 'crossed pair'. The other 2 mics are placed on either side of the drum kit either underneath the kit close to the ground or a couple feet away from the kit. These 2 mics are pointing up at the other 2 mics. Make sure that the bottom 2 microphone are phase reversed with this method or there will be serious tone loss.

Microphone choice: Usually condenser microphones, but all polar patterns can be used for different qualities.

Placement: There are hundreds of ways to capture the ambient sound of a drum kit. All completely dependant on the particular room and kit being used. Experimentation and experience are the only ways to get consistently good results every time.

Here are just a few ideas:

• Try placing a microphone in the corner of the room for a bass lift
• Using omni-directional microphones often capture a much more natural sound than cardioid, and figure 8 polar pattern microphones.
• Experiment with different types of microphones, sometimes the ones you least expect to be any good become your 'secret weapon'

Microphone choice: Low ranging frequency response, cardioid polar pattern, high SPL reproduction capability.

Placement: Moving microphone(s) near different parts of a bass amplifier cabinet can drastically change the recorded sound.

Placing the microphone near the speaker provides a warm, well rounded tone, near to the horn or tweeter the sound will obviously get brighter.

It is often very effective to use two microphones, one near the speaker and one near the horn.
This allows mixing of the two signals to produce the desired tone. Be careful with the phase relationship between the two microphones.

Many engineers prefer to 'DI' the bass guitar. This can be done by plugging the bass guitar directly into a preamp or by using the balanced line out on a bass guitar head or FX unit such as a Sans Amp.

Microphone choice: Cardioid or hyper cardioid polar pattern for close microphone applications. Room or ambient microphones are often condenser microphones, cardioid or omni directional.

Placement: using a cardioid or hyper cardioid microphone, about 2-4cm away from the speaker mesh/grill, place the microphone pointing at a point on the speaker. Placing the microphone towards the edge of the driver produces a warmer tone, with the sound getting progressively brighter as it approaches the centre.

Ambient microphones are often useful for creating a fuller, more natural sound. Try placing the microphone about 3-4 metres away from the amplifier.

Today more and more people are using all types of condenser microphones to close mic electric guitar amps.

Microphone choice: Usually condenser, cardioid, hyper cardioid and figure 8 polar patterns are all common patterns to use.

Placement: Try using a 'pencil' condenser microphone, placed in front of the sound hole, but pointing at the bridge of the guitar. This will provide a warm, yet detailed sound. It is extremely important to experiment with acoustic guitar microphone techniques. Try listening to the microphone via headphones whilst moving it around to find the desired 'sweet spot'

Another good technique is usings either a 'pencil' condenser or a large diaphrgm condenser and placing it 6 to 12 inches out from the 12th fret. This position sounds great, but beware of string noise. (the sound of fingers sliding on strings)

Microphone choice: Select a high quality condenser microphone, preferably with a large diaphragm.

Placement: Place a pop shield about 3-5 cm from the microphone, and sing approximately 2-4 cm from the pop shield. Moving closer to the microphone can produce a closer sound, but beware of a slightly uncontrollable proximity effect, making the sound excessively warm and bassy.

Remember, different microphones suit different voices, and the most expensive is not always the most suitable. Audition as many microphones as possible, and if you are having real difficulties getting the sound you are after, maybe a different microphone is the answer.

Using the basic principles and techniques mentioned above, all instruments can be recorded by simply listening to test recordings, experimenting and building up your experience with microphones and studio equipment.